,this e,book was produced by ,david ,schwan4 ,the ,art of the ,exposition ,personal ,impressions of the ,architecture1 ,sculpture1 ,mural ,decorations1 ,color ,scheme ,other ,aesthetic ,aspects of the ,panama-,pacific ,international ,exposition ,by ,eugen ,neuhaus ,university of ,california ,chairman of the ,western ,advisory ,committee and ,member of the ,san ,francisco ,jury in the ,department of ,fine ,arts of the ,exposition ,to the ,panama-,pacific ,international ,exposition4 ,a ,great ,work of ,peace4 ,these lines are appreciatively dedicated ,may the ,first #aiae ,publisher's ,announcement ,the following pages have grown out of many talks given during the year by ,mr4 ,neuhaus to his students at the ,university of ,california4 ,presented to the public in the form of a series of evening lectures at the ,university1 and repeated before many other organizations throughout ,california1 his interpretation of the ,art of the ,exposition roused a demand for its repetition so widespread as only to be met by the aid of the printing press4 ,san ,francisco1 ,california ,may #a1 #aiae ,contents ,the ,architecture ,the architectural scheme1 the setting and the style of the architecture4 ,the ,sculpture ,its relation to the architecture1 its artistic meaning and its symbolism4 ,the ,color ,scheme and the ,landscape ,gardening ,the color elements as furnished by the artist and by nature2 the horticultural effects4 ,the ,mural ,decorations ,the intellectual emphasis of the color scheme1 and the significance of the mural decorations4 ,the ,illumination - ,conclusion ,the ,exposition at night4 ,appendix ,guide to ,sculpture1 ,the ,mural decorations1 ,biographical notes4 ,list of ,illustrations ,the ,tower in the ,court of ,abundance4 ,louis ,christian ,mullgardt1 ,architect4 7,frontispiece7 ,under the ,arch of the ,tower of ,jewels4 ,mc,kim1 ,mead and ,white1 ,architects ,view ,through the ,great ,arches of the ,court of the ,universe4 ,mc,kim1 ,mead and ,white1 ,architects ,niche ,detail from the ,court of the ,four ,seasons4 ,henry ,bacon1 ,architect ,the ,court of the ,four ,seasons4 ,henry ,bacon1 ,architect ,northern ,doorway in the ,court of ,palms4 ,george ,kelham1 ,architect ,entrance into the ,palace of ,education4 ,bliss and ,faville1 ,architects ,detail from the ,court of ,abundance4 ,louis ,christian ,mullgardt1 ,architect ,the ,palace of ,fine ,arts4 ,bernard ,r4 ,maybeck1 ,architect ,colonnade1 ,palace of ,fine ,arts4 ,bernard ,r4 ,maybeck1 ,architect4 ,portal of ,vigor in the ,palace of ,food ,products 7in the distance74 ,bliss and ,faville1 ,architects ,colonnade1 ,palace of ,fine ,arts4 ,bernard ,r4 ,maybeck1 ,architect ,the ,setting ,sun4 ,adolph ,a4 ,weinman1 ,sculptor ,the ,nations of the ,west4 ,a4 ,stirling ,calder1 ,frederick ,c4 ,r4 ,roth1 ,leo ,lentelli1 ,sculptors ,the ,mermaid4 ,arthur ,putnam1 ,sculptor ,the ,adventurous ,bowman ,supported by ,frieze of ,toilers ,details from the ,column of ,progress4 ,hermon ,a4 ,mac,neil1 ,sculptor ,the ,end of the ,trail4 ,james ,earl ,fraser1 ,sculptor ,autumn1 in the ,court of the ,four ,seasons4 ,furio ,piccirilli1 ,sculptor ,the ,pacific-,detail from the ,fountain of ,energy4 ,a4 ,stirling ,calder1 ,sculptor ,the ,alaskan-,detail from ,nations of the ,west4 ,frederick ,c4 ,r4 ,roth1 ,sculptor ,the ,feast of ,sacrifice4 ,albert ,jaegers1 ,sculptor ,youth - ,from the ,fountain of ,youth4 ,edith ,woodman ,burroughs1 ,sculptor ,truth - ,detail from the ,fountain of the ,rising ,sun4 ,adolph ,a4 ,weinman1 ,sculptor ,the ,star4 ,a4 ,stirling ,calder1 ,sculptor ,the ,triton - ,detail of the ,fountains of the ,rising and the ,setting ,sun4 ,adolph ,a4 ,weinman1 ,sculptor ,finial ,figure in the ,court of ,abundance4 ,leo ,lentelli1 ,sculptor ,atlantic and ,pacific and the ,gateway of all ,nations4 ,william de ,leftwich ,dodge1 ,painter ,commerce1 ,inspiration1 ,truth and ,religion4 ,edward ,simmons1 ,painter ,the ,victorious ,spirit4 ,arthur ,f4 ,mathews1 ,painter ,the ,westward ,march of ,civilization4 ,frank ,v4 ,du ,mond1 ,painter ,the ,pursuit of ,pleasure4 ,charles ,holloway1 ,painter ,primitive ,fire4 ,frank ,brangwyn1 ,painter ,night ,effect - ,colonnade of the ,palace of ,fine ,arts4 ,bernard ,r4 ,maybeck1 ,architect ,official ,poster4 ,perham ,w4 ,nahl ,ground ,plan of the ,exposition ,the ,art of the ,exposition ,the ,architecture ,it is generally conceded that the essential lesson of the ,exposition is the lesson of art4 ,however strongly the industrial element may have asserted itself in the many interesting exhibits1 no matter how extensive the appeal of the applied sciences may be1 the final and lasting effect will be found in the great and enduring lesson of beauty which the ,exposition so unforgetably teaches4 ,the visitor is at once stirred by the many manifestations of art1 presented so harmoniously by the architect1 the sculptor1 the landscape architect1 and the painter-decorator1 and his attention is kept throughout by artistic appeals at every turn4 ,it must be said in the very start that few will realize what is the simple truth - that artistically this is probably the most successful exposition ever created4 ,it may indeed prove the last4 ,large international expositions are becoming a thing of the past on account of the tremendous cost for relatively temporary purposes4 ,there is still much of the popular conception abroad that the ,west has only very recently emerged from a state of semi-civilization inimical to the finer things of life1 and to art in particular4 ,but we may rest assured that the fortunate outsider who allows himself the luxury of travel will proclaim that the gospel of beauty has been preached most eloquently through the ,panama-,pacific ,international ,exposition4 ,the critic who prefers to condemn things will find small opportunity here1 no matter how seriously he may take himself4 ,the first sight of that great mosaic1 from the ,fillmore-street hill1 at once creates a nerve-soothing impression most uncommon in international expositions1 and for that matter1 in any architectural aggregate4 ,one is at once struck with the fitness of the location and of the scheme of architecture4 ,personally1 ,i am greatly impressed with the architectural scheme and the consistency of its application to the whole4 ,i fear that the two men1 ,mr4 ,willis ,polk and ,mr4 ,edward ,bennett1 who laid the foundation for the plan1 will never receive as much credit as is really due them4 ,i hope this appreciation may serve that purpose in some small way4 ,it was a typically big western idea1 an idea that as a rule never gets any farther than being thought of1 or possibly seeing daylight as an esquisse - but seldom any farther than that4 ,the ,burnham plan for ,san ,francisco was such an unrealized dream1 but here the dream has achieved concrete form4 ,the buildings as a group have all the big essential qualities that art possesses only in its noblest expression4 ,symmetry1 balance1 and harmony work together for a wonderful expression of unity1 of oneness1 that buildings devoted to profane purposes seldom show4 ,i do not know how many people who visit the ,exposition are so constituted as to derive an aesthetic thrill from artistic balance1 but ,i imagine that any person1 no matter how inexperienced in matters of art1 will rejoice at the fine feeling of orderly arrangement of major forms which runs through the entire grouping4 ,it is simplicity itself1 and it serves an excellent practical purpose1 enabling one to visit the ,exposition without being left a nervous wreck at the end4 ,the main entrance leads one into the physical center of the ,exposition4 ,from there1 on the first visit1 one realizes the existence of an equally large area on either side1 covered with objects of interest4 ,the main exposition1 composed of a compactly arranged group of large buildings of approximately equal size1 is symmetrically placed on either side of the main central court1 the ,court of the ,universe4 ,this sends out its avenues into two equally proportioned side courts - the ,court of the ,four ,seasons on the west and the ,court of ,abundance on the east4 ,while the main court rests right in the center of the eight buildings1 the side courts fit snugly into the center of the four buildings on either side4 ,this arrangement of large masses1 comprising the bulk of the ,exposition1 creates a grateful feeling of repose and of order1 without being in the least uninteresting1 for while there is perfect symmetry1 on the one hand1 in the larger masses1 there is plenty and ever changing variety in the minor architectural forms and embellishments4 ,the same balance1 the same interesting distribution of architectural masses1 continues on either side of the main building4 ,in ,machinery ,hall1 on the one hand1 and the ,fine ,arts ,palace on the western side1 perfect balance is again maintained4 ,that is1 however1 not the end of it all4 ,loosening up in a very subtle way1 we find cleverly arranged the buildings of the various ,states of the ,union and of ,foreign ,nations on the western side of the ,fine ,arts ,palace1 while at the other extremity of the main group1 screened by ,machinery ,hall1 is the amusement section1 officially labeled ,the ,zone4 ,i do not suspect that the ,zone is intended to give any artistic thrills4 ,if so1 ,i would propose to call it ,the ,limit1 and so ,i drop it as a subject for further artistic1 reference4 ,it is invaluable1 however1 as an object lesson in showing the fatal results of the utter disregard of all those fundamental laws of balance1 harmony1 and unity so uniformly and persistently applied through the seriously designed main body of the ,exposition4 ,there is no harmony whatever in the ,zone anywhere1 either in the form1 style1 or color1 unless it be the harmony of ugliness which is carried through this riotous mle of flimsiness and sham4 ,i cannot help but feel that this hodgepodge will convince the most doubting ,thomas who might believe in the mob rule of hundreds of conflicting tastes4 ,the ,zone is not an improvement on similar things in former ,expositions4 ,save for certain minor exceptions at the entrance1 it will serve as a wonderfully effective illustration of the taste of the great masses of the people1 and as a fine business investment4 ,so far1 we have moved only along the east and west axis of the ,exposition4 ,the north and south development is not without its charm4 ,the terraced city of ,san ,francisco1 on the south1 without a doubt looks best on a densely foggy day4 ,with its fussy1 incongruous buildings - ,i hesitate to call them architecture - it serves hardly as a background for anything1 let alone a group of monumental buildings4 ,the opposite side1 where nature reigns1 atones for multitudes of sins that man committed on the city's hills4 ,but how great an opportunity there was lost6 ,there are1 however1 some indications at the western end of ,broadway that give fine promise for the future4 ,the bay and its background of rising hills and blue mountain sides provide1 the wonderful setting that so charmingly holds the ,exposition4 ,the general arrangement of the ,exposition pays its respects to the bay at every possible angle4 ,the vistas from the three courts towards the bay are the pices de rsistance of the whole thing4 ,it was a fine idea1 not alone from an economic point of view1 to eliminate the two arches which appeared in the original plan at the end of the avenues running north from the ,court of the ,four ,seasons and the ,court of ,abundance4 ,there is hardly anything more inspiring than to stand in any of the three courts and to look north through those well proportioned colonnades over the blue bay towards the purple foothills of ,marin ,county1 crowned by the graceful slopes of ,mount ,tamalpais on one side and the many islands of the bay on the other4 ,it is surprising into how many enchanting vistas the whole arrangement resolves itself4 ,for the city-planner the ,exposition contains a wonderful lesson4 ,what fine cities we might have if some artistic control could be exercised over the buildings which are to stand opposite the junction of one street with another1 not only at right angles1 but also at lesser degrees - for instance1 in all cases of streets running into ,market street from the northwest4 ,to point out some particularly fine vistas1 among many1 we should mention that from the ,orchestral ,niche in the ,court of the ,four ,seasons1 looking toward the bay1 or from the same court toward the ,fine ,arts ,palace - and many more4 ,the natural background seems to have been considered always1 even in the arrangements of the smallest apertures4 ,one should not overlook the two open courts which run off the main avenue1 like charming coves in an island1 into the main group of buildings1 connecting at their ends with the ,court of the ,four ,seasons at the west and the ,court of ,abundance toward the east4 ,these two1 the ,court of ,palms and the ,court of ,flowers1 have not so much the charm of seclusion of the more centrally located courts1 but their architecture makes them of great interest4 ,as to the style of the architecture of the main group of eight buildings1 it has been called classic4 ,if one means by that something excellent1 something in good taste1 we must admit that it is classic indeed4 ,however1 on closer examination it becomes very evident that the individuality of many men has found expression in the architectural structural forms1 as well as in the minor and decorative forms4 ,the main ,tower of ,jewels1 by ,carrre and ,hastings1 marking the center of the whole scheme1 has a distinct character of its own4 ,there is no doubt that it is effective1 but while its chief merit lies in its colossal proportions and its relative position1 ,i feel that it lacks that oneness of conception that characterizes almost every other architectural unit in the ,exposition4 ,one feels too much the stacking up of story after story1 that effort to fill the requirements of a given great height1 very much as a boy sets up blocks of diminishing size1 one on top of the other1 until he can go no further because there are no smaller blocks4 ,the whole effect of the tower is too static4 ,of its architectural motives1 almost too many seem devoid of much interest1 and like the column motive1 repeated too often4 ,the very effective and decorative employment of jewels tends to loosen up and enliven the structure very much4 ,on a sunny day the effect is dazzling and joyous4 ,the tower has a feeling of dignity and grandeur1 commensurate with its scale and setting4 ,however1 its great height is not apparent1 owing largely to its breadth of base4 ,the ,sather ,campanile in ,berkeley looks higher1 though it is actually one hundred and thirty-three feet lower4 ,the side towers at the entrances of the ,court of ,palms and the ,court of ,flowers1 while not so imaginative as the main tower1 are far more sky-reaching4 ,as towers go1 ,john ,galen ,howard's tower at the ,buffalo ,exposition in #aija stands unsurpassed in every way as an ,exposition tower4 ,the main ,court of ,honor1 or ,court of the ,universe1 as it is also called1 designed by ,mc,kim1 ,mead and ,white1 impresses by its tremendous dimensions1 which operate somewhat against its proper enjoyment4 ,i believe that the court is too large - so many things are lost in it1 and it does not convey the quality of shelter that the two lesser courts possess in such marked degree4 ,the ,court of the ,universe will never be the resting place of the masses of the people1 in spite of the recently added attraction of the band stand1 a mixture of ,roman and ,arabic architecture out of keeping with the surroundings4 ,the conventional architectural motives of this great court do not help very much in tempting one to stay1 and if it were not for the great arches on the east and west and the very fine view toward the ,column of ,progress1 ,i would feel tempted to classify it as a piece of architectural design of the stereotyped variety4 ,it has all the great qualities and faults of the court in front of ,st4 ,peter's in ,rome4 ,there is too little play of landscape gardening in and near the ,court of the ,universe1 a condition which will remedy itself with the breaking into bloom of the great masses of rhododendron which have been installed in the sunken garden in the center4 ,like all careful interpretations in the classic architectural traditions1 the ,court of the ,universe has a great feeling of dignity and grandeur1 which gives the visitor a feeling of the big scale of the rest of the architecture4 ,the court lacks1 however1 the individual note of the two side courts4 ,toward the west1 passing through a very characteristic avenue1 in the style of the happiest phases of the ,italian ,renaissance to be found in ,florence1 one enters the ,court of the ,four ,seasons1 by ,henry ,bacon of ,new ,york4 ,the chief quality of this court is that of intimacy4 ,while by no means so original as the ,court of ,abundance1 it has a charm all of its own1 in spite of its conventional architectural characteristics1 which are really not different from those of the main ,court of ,honor4 ,however1 a very happy combination of gardening effects and architecture1 together with the interesting wall-fountains1 screened by stately rows of columns1 make for a picture of great loveliness4 ,of all the courts1 it has the most inviting feeling of seclusion4 ,the plain body of water in the center1 without statuary of any kind1 is most effective as a mirror reflecting the play of lights and shadows1 which are so important an asset in this enchanting retreat4 ,during the ,exposition it will serve as a recreation center for many people who will linger in the seclusion of the groups of shrubbery and watch the shadows of the afternoon sun creep slowly up the surrounding walls4 ,as an ,exposition feature1 the ,court of the ,four ,seasons is a decided innovation4 ,at ,st4 ,louis1 for instance1 in #aijd1 everything seemed to have been done to excite1 to overstimulate1 to develop a craving for something new1 to make one look for the next thing4 ,here1 in the ,court of the ,four ,seasons1 one wants to stay4 ,most emphatically one wants to rest for awhile and give one's self over entirely to that feeling of liberation that one experiences in a church1 in the forest1 or out on the ocean4 ,i could stay in this court forever4 ,to wander into this ,court of the ,four ,seasons from any one of the many approaches is equally satisfactory1 and it will prove a very popular and successful ,exposition innovation4 ,speaking of the courts1 one is bound to yield to the individual note of ,louis ,mullgardt's ,court of ,abundance1 on the east of the ,court of the ,universe4 ,of all the courts it has1 without a doubt1 the strongest individual note4 ,it seems on first acquaintance to be reminiscent of the ,gothic1 of which it has1 no doubt1 the quality of lightness1 the laciness1 and the play of many fine apertures and openings4 ,it has1 however1 neither the ,gothic arch nor the buttresses of that period1 and so far as its ground plan goes1 it is thoroughly original4 ,it looks as if carved out of a solid block of stone4 ,this monolithic quality is particularly well brought out in the tower on the north4 ,while not quite so intimate as the ,court of the ,four ,seasons1 it conveys1 a feeling of shelter and seclusion very well by showing an uninterrupted wall motive on all sides4 ,the sculpture symbolism of this court is particularly fine4 ,we shall return to it in a consideration of sculpture4 ,the two minor courts by ,george ,kelham are particularly fortunate in their open location toward the south4 ,their sheltered and warm atmosphere is quite in keeping with the suggestion of ,spanish ,renaissance which has been employed in the constructive and in the many decorative motives4 ,the western court1 or ,court of ,palms1 is made particularly attractive by a sunken garden effect and pool4 ,the effect of the ,court of ,flowers is similar in every way to its mate on the east4 ,a consideration of these two courts1 with their towers1 leads easily into a study of the outer faade1 which1 so to speak1 ties all of the eight ,palaces together into a compact1 snug arrangement1 so typical of the ,exposition4 ,bliss and ,faville of ,san ,francisco are responsible for the very skillful use of simple1 plain surfaces1 accentuated and relieved here and there by ornate doorways1 wall-fountains1 niches1 and half-domes4 ,on the south1 along the ,avenue of ,palms1 are found some very fine adaptations of old ,spanish doorways1 which deserve to be preserved4 ,it is regrettable that we have no large museum on the coast where these fine doorways in the outer walls of the ,palace of ,varied ,industries could be preserved permanently4 ,the travertine marble has nowhere been used more effectively than in just such details4 ,the entrance of the ,palace of ,education at the western end of the south faade is also of great beauty of design4 ,on the western end two huge niches or half domes command attention by their noble beauty and fine setting amidst great clumps of eucalyptus4 ,on the north1 no special effort has been made4 ,there is1 however1 a decorative emphasis of the doorways along the entire front4 ,on the east1 facing the ,palace of ,machinery1 some very fine doorways1 very much like some of the minor ones on the south1 furnish the decoration4 ,it was no small task to bridge the many diversified architectural motives which penetrate into the outer wall from within1 in the shape of many avenues and courts1 and one can appreciate the difficulties of the designer who met so well these conflicting requirements4 ,of the detached palaces outside of the eight forming the rectangular block nucleus1 the ,palace of ,machinery attracts by its enormous size4 ,i am not interested in how many kegs of nails and iron bolts and washers went into its anatomy4 ,they add nothing to the artistic enjoyment of this very massive building4 ,one point1 however1 in connection with the liberal use of the raw material is of artistic significance1 and that is that the internal structural aspects of this great palace1 as well as of the others1 are not without charm and interest4 ,it is only in recent years1 and particularly in ,america1 that the engineer has dared to invade the realm of the artist by attempting to make the constructive1 anatomical material1 like uprights1 bracings1 trusses1 and beams1 assume artistic responsibilities4 ,it has been for many years the custom to expect the engineer to do his share in obscurity with the idea that it ultimately will be covered up by the work of the architect4 ,the extraordinary development of engineering in this country1 to meet new and original problems1 sometimes of colossal proportions1 particularly in the field of concrete design1 has resulted in some conditions heretofore entirely unknown4 ,i feel with much satisfaction that the unobscured appearance of the wood construction in the ,palace of ,machinery is very pleasing1 owing to its sound constructive elements1 as well as to a very fine regard for pattern-making in the placing of the bolts and braces4 ,here we discover the engineer in the role of the artist1 which he seems to enjoy1 and which offers endless new opportunities1 particularly in the field of concrete construction1 as well as in wood4 ,the great size of the ,machinery ,palace is much more enjoyable from within1 on account of the constructive patterns left in the raw1 than from without1 where there is not enough animation in the many plain surfaces of the outer walls4 ,i do not know that it is customary to put the engineer's name1 together with that of the architect1 on a building2 the time s approaching very rapidly when we shall be in duty bound to do so4 ,aside from the structural charm of the inside1 the outer faade of ,machinery ,hall is not entirely devoid of architectural interest4 ,its general forms are apparently those of an early ,christian church1 although its decorative motives are all indicative of the profane purposes for which it is used4 ,festival ,hall1 by ,farquhar1 of ,los ,angeles1 at the east end of the south gardens1 does not look particularly festive1 and it is not original enough to shine by itself1 like its very happy mate at the south end1 the ,horticultural ,palace4 ,there is nothing like this ,horticultural ,palace anywhere on the grounds in its gorgeous richness of decorative adornment4 ,it has no relation to any other building on the site4 ,it is very happy1 with its many joyous garlands1 flower-baskets1 and suggestions of horticultural forms - all very well done - so very much better done than so many of the cheap period imitations so common to our residence districts4 ,it is so decidedly joyous in character that people looking for ,festival ,hall wander over to the ,horticultural ,palace1 attracted by the very joyousness of its scheme4 ,good rococo ornamentation is rare abroad and even rarer in this country1 which is essentially opposed in its tendencies and in its civilization to those luxurious days of the ,french kings who created the conditions under which this very delightful style could flourish4 ,the ,horticultural ,palace is a great success as an interpretation of a style which rarely finds a sympathetic expression in this country4 ,i do not feel at all that it ought1 but in a case of this kind where a temporary purpose existed1 it was happily chosen4 ,of all isolated units1 none causes greater admiration than the ,fine ,arts ,palace4 ,it presents the astounding spectacle of a building which violates the architectural conventions on more than one occasion1 and in spite of it1 or possibly for that very reason1 it has a note of originality that is most conspicuous4 ,everybody admits that it is most beautiful1 and very few seem to know just how this was accomplished4 ,many of the small fry of the architectural profession enjoy themselves in picking out its faults1 which are really1 as suggested above1 the reason for its supreme beauty4 ,save for ,mullgardt's court1 it is the only building that seems to be based on the realization of a dream of a true artistic conception4 ,with many other of the buildings one feels the process of their creation in the time-honored1 pedantic way4 ,they are paper-designed by the mechanical application of the ,t square and the triangle4 ,they do not show the advantage of having been experienced as a vision4 ,with ,bernard ,maybeck's ,palace of ,fine ,arts1 one has the feeling that this great temple is a realized dream2 that it was imagined irrespective of time1 cost1 or demand4 ,like all of ,maybeck's buildings1 it is thoroughly original4 ,of course the setting contributes much to the picturesque effect1 but aside from that1 the colonnades and the octagonal dome in the center of the semicircular embracing form of the main building present many interesting features ,there is a very fine development of vistas1 which are so provided as to present different parts of the building in many ever-changing aspects4 ,on entering the outer colonnade one forgets the proximity of everyday things2 one is immediately in an atmosphere of religious devotion1 which finds its noblest expression in that delicate shrine of worship1 by ,ralph ,stackpole1 beneath the dome4 ,this spiritual quality puts the visitor into the proper frame of mind for the enjoyment of the other offerings of art within the building4 ,mr4 ,maybeck has demonstrated once again that his talent is equal to any task in the field of architectural art4 ,i wish we had more of his rare kind and more people to do justice to his genius4 ,not far from the ,palace of ,fine ,arts1 on the shores of the bay1 the monumental tower of the ,california building fits well into the scheme of things4 ,seen from a distance1 from numerous points across the lagoon1 it offers a great many effective compositions in connection with some very decorative groups of old acacia trees1 the legacy of an old amusement park of the bygone days of ,san ,francisco - the old ,harbor ,view ,gardens4 ,in the shade of these old trees a fine old formal garden of exquisite charm1 screened from the eyes of the intruder by an old clipped ,monterey cypress hedge1 really constitutes the unique note of this typically ,mission building4 ,the architect1 ,mr4 ,burditt1 deserves great credit for an unusually respectful treatment of a very fine architectural asset4 ,this very enchanting old flower garden1 with its sundial and cozy nooks1 has an intimate feeling throughout1 and it furnishes the delightful suggestive note of old age1 of historical interest1 without which it would never have been convincing4 ,aside from the outdoor features1 the building1 exclusive of the county annex1 discloses a very fine talent in a very happy combination of classic tradition and modern tendencies4 ,the building is altogether very successful1 in a style which is so much made use of but which is really devoid of any distinct artistic merit4 ,most of the examples of the so-called ,mission style in ,california are very uninteresting in their decorative motives1 however big their ground plans may be in their liberal use of space4 ,the ,oregon building is just across the way from the ,california building1 and as an object of artistic analysis it is a most interesting single unit4 ,personally1 ,i am not enthusiastic over it4 ,it was most decidedly a very illogical idea to select a building to represent ,oregon from a country which has nothing whatever in common with this northern state4 ,one could hardly discover a more arid country1 devoid of vegetation1 particularly of trees1 than ,greece2 and to compare it with the apparently inexhaustible wealth of virgin forests of ,oregon makes the contrast almost grotesque4 ,besides1 a building like the ,parthenon1 designed to grace and terminate the top of a hill1 is surely not adapted for a flat piece of ground like the ,exposition field4 ,and in the choice of material used in its construction it shows a lack of appreciation for the fitness of things generally4 ,the ,parthenon was designed to be made in stone1 as much for the construction as for the light color effect of the marble4 ,only the light color play of its exterior would do against a placid blue sky to relieve the otherwise exceedingly simple rigidity of its massive forms of construction4 ,to make an imitation of this great building in uncouth1 somber1 almost black pine logs of dubious proportions is hardly an artistically inspired accomplishment4 ,there must always be a certain regard for the use of the right material in the right place4 ,a wooden bridge will disclose its material even to the uninitiated at a very great distance1 because everybody knows that certain things can be done only in wood4 ,a stone1 concrete1 iron1 or cable bridge1 for example1 will each always look its part1 out of sheer material and structural necessity4 ,a log house would have been far better and more successful than this pseudo ,parthenon4 ,it is in the same class with the statues of ,liberty made from walnuts that are the great attractions in our autumnal agricultural shows4 ,the ,state of ,oregon1 however1 is well represented by a fine immense flagpole1 which could hardly have been cut anywhere else than on the ,pacific ,coast4 ,of other state buildings in this neighborhood1 a number are impressive by their cost1 like the ,new ,york building2 others1 again1 by historical suggestions of great charm4 ,there are several which reflect in a very interesting way the ,colonial days of early ,american history2 and buildings like those of ,new ,jersey and ,virginia1 in spite of their unpretentiousness1 are very successful4 ,nobody would take them for anything else but what they represent4 ,the ,pennsylvania building shows a very fine combination of the classic and of the modern4 ,it was originally designed to hold the ,liberty ,bell4 ,in order to avoid the necessity of building a fireproof building1 the open hail was adopted1 with its inviting spaciousness1 and two lower enclosing wings at the side4 ,the arrangement of the ,pennsylvania building is formal1 owing to its symmetry1 but not at all heavy4 ,its decorative detail is full of interest1 and to discover ,hornbostel of ,new ,york1 the designer of the ,oakland ,city ,hall1 as the author of this building1 is a pleasant surprise4 ,of most of the other state buildings1 really nothing original could be claimed4 ,they are1 on the whole1 dignified in their classic motives1 and in most cases1 in better taste than the many foreign buildings4 ,among these1 the buildings representing ,sweden1 ,denmark1 ,norway1 ,italy1 and ,bolivia1 must claim particular attention4 ,it must seem strange that the three northern countries named first should excel in originality of architecture1 as well as in the allied arts4 ,the ,swedish building1 designed by ,ferdinand ,boberg1 presents admirably his great talent4 ,the name ,boberg means nothing to most people out here1 but anybody at all familiar with the development of modern architecture abroad will always think of ,boberg as the greatest living master of ,swedish architecture4 ,his very talented wife1 ,anna ,boberg1 is equally well represented in another department1 that of the ,fine ,arts4 ,the plan of the ,swedish building is unsymmetrical1 but well balanced1 nevertheless4 ,the typical northern wood tower1 at one side1 has a very fine outline1 and like the roof1 has a very fine decorative shingle covering1 interesting in pattern as well as in color4 ,i am very much tempted to speak of the treasures found inside of this building1 but we must go on to ,denmark's building4 ,this building1 situated near the southern end of the ,fine ,arts ,colonnade1 has a far more advantageous location than the ,swedish building4 ,situated on a narrow tongue of triangular shape1 the architect has taken the fullest advantage of this original piece of ground4 ,the building gives a very good idea of some of the very best tendencies in the modern art of ,europe1 without being bizarre1 like some recent ,american attempts1 in the most wrongly labeled of all art expressions - the ,art ,nouveau4 ,the ,norwegian building1 somewhat remotely situated1 back of the ,french building and near the ,presidio entrance1 has very much in common with the ,swedish building1 and offers the same attractive features of wood and stone construction as the building representing its sister state4 ,historical traditions and everything else are so much alike in these two countries that it must not surprise one to find the two buildings have so many points of interest in common4 ,the north of ,europe has given to the world many very excellent and genuine expressions of architecture1 which1 owing to their fine constructive qualities1 have been absorbed wherever wood is the principal building material4 ,the art contributions of ,sweden1 ,norway1 and ,denmark will long remain in the memory of all ,exposition visitors4 ,holland makes considerable pretensions as to originality of style in a curiously incongruous creation at the north of the ,fine ,arts ,palace4 ,during the last twenty years a peculiarly inadaptable type of building has been developed in ,holland by a group of younger architects4 ,many of these buildings are suggestive of stone rather than of brick construction1 and they do not fit in very well into the architectural traditions of the ,dutch - builders traditionally of the finest brick structures in the world4 ,the ,holland building at the ,exposition is not typical of that great and independent people4 ,it looks cheap and has all the faults of the ,art ,nouveau1 which has1 unfortunately1 been much discredited1 by just such things in our own country1 where classical traditions are so firmly and so persistently entrenched4 ,while structurally this building is of a peculiar1 affected1 ultra-modern note1 the general scheme of decoration inside as well as outside compels much praise4 ,the general feeling of refinement1 of serenity1 that so strongly characterizes the interior is due to the able work of ,hermann ,rosse1 a capable decorator-painter1 who designed and supervised the entire color scheme4 ,the color scheme inside the ,holland building1 while daring1 is most original in using an unusual combination of steel-blue and warm grey silver tones4 ,these two relatively cold notes are enhanced in a complementary color sense by touches of orange and yellow4 ,a constructive stencil pattern based on the two national plants of ,holland1 the orange tree and the tulip1 add richness to the general effect4 ,mr4 ,rosse's very decorative wall painting opposite the main entrance represents the ,industries of ,peace4 ,while somewhat severe1 it adds dignity in motive as well as in treatment4 ,on the outside some fine decorative tile panels reflect one of the chief industries of the ,dutch and also tell of the influence that ,dutch art has long received from ,holland's ,east ,indian possessions4 ,these tile panels are very decorative4 ,to us1 out here1 they suggest artistic ceramic possibilities for architectural purposes of which we have taken little advantage4 ,considering the fact that we have quantities of good clay and that so much original good decorative design is lying idle1 this inactivity in architectural ceramics in ,california is distressing4 ,so far as ,i know1 ,batchelder1 in ,pasadena1 still has the monopoly on architectural tiles for the entire ,pacific coast4 ,other ,european countries besides ,holland are interestingly represented4 ,the ,italian building is a dignified building of pure ,florentine ,renaissance lines1 with here and there a modern note4 ,this should rather be called a group of buildings1 since it is a combination of some of the finest bits of ,italian ,renaissance architecture4 ,the architects of this building succeeded admirably in giving a feeling of antiquity to the general treatment of the whole arrangement1 which1 under the blue sky of ,california1 brings one straight back into the land of sunshine and artistic tradition4 ,the whole arrangement of this ,italian group seems somewhat bewildering at first1 but on closer inspection resolves itself into a very interesting scheme which takes full advantage of the irregularly shaped site4 ,there is a most impressive noble dignity in the hall of the main building1 where mural decorations of figural character add much to the sumptuousness of the general effect4 ,it is remarkable how in this age of low ceilings a return to great height for rooms1 as in these1 ,italian chambers1 produces a marked note of originality4 ,the light effect created in this way1 in all of these replicas of the mansions of the wealthy of the ,renaissance period1 is most helpful in the display of a multitude of lovely objects - furniture1 jewelry1 ceramics1 tapestries1 and yet more4 ,the sculptural imitations of so many old pieces of statuary are not in very good taste4 ,they bear too much the traces of the pneumatic drill1 and most of them are cold and devoid of the spirit of the original4 ,some of the very modern marbles in the various rooms are almost pathetic in their disregard for the standards established by the forefathers of their creators4 ,france1 unfortunately1 does not rise above the commonplace1 in an extensive building hastily constructed4 ,and ,portugal is shining in all the glory of wedding-cake ornamentation that the plaster of ,paris artist could produce4 ,south ,america appears in a very typical building representing ,bolivia4 ,it is evident that it was not a costly building1 but its dignified ,spanish faade and the court effect inside are far more agreeable than the pretentious palace erected by the ,argentine ,republic4 ,the ,orient1 with the oldest art traditions in the world1 can justly be expected to outdo the rest of the world4 ,we find ,japan again1 as on previous occasions1 excelling in its typical arrangement of a number of small pavilions in an irregular garden4 ,the entire ,japanese display1 architectural and all1 is so perfect a unit that one cannot speak of the buildings alone without thinking of the gardens4 ,the ,japanese sense of detail and love of the picturesque are disclosed at every turn4 ,we still have with us in ,san ,francisco1 as a memento of the ,midwinter ,fair of #ahid1 the ,japanese ,garden in ,golden ,gate ,park1 and while this new creation at the ,exposition is not so extensive1 it is none the less charming4 ,in contrast to the ,japanese wonderland near the ,inside ,inn1 the new ,republic of ,china seems to be very unhappily represented1 not very far away4 ,the whole ,chinese ensemble seems a riot of terrible colors1 devoid of all the mellow qualities of ,oriental art4 ,if ,china's art was retired with the ,manchu dynasty1 then ,i hope the new ,republic will soon die a natural death4 ,the ,sculpture ,the sculptural decorations of the ,exposition are so much a part of the architectural scheme that their consideration must no longer be delayed4 ,the employment of sculpture has been most judicious and has never lost sight of certain architectural requirements1 so frequently overlooked4 ,while there are a great many examples of sculptural decorations at the ,exposition1 there does not seem to be that over-abundance of ornamentation so often confused by the public with artistic effect4 ,the best compliment that can be paid to the ,exposition sculpture is that it is not evident at first and that one becomes aware of it only in the course of studying the architecture4 ,i do not think that1 with the exception of the ,column of ,progress and the groups of the ,nations of the ,east and of the ,west1 the ,exposition has produced1 through its very unusual and novel opportunities1 any great work1 or presented any new talent heretofore not recognized2 but it will most certainly stand a critical examination and comparison with other ,exposition sculpture and not suffer thereby4 ,as a matter of fact1 a number of the sculptors of our ,exposition were commissioned to do similar work at ,st4 ,louis4 ,in one respect our ,exposition must immediately claim originality - that is1 in the elimination of the glaring white1 with its many ugly and distracting reflected lights1 insisted upon for years1 in practically all the great expositions of the past4 ,this absence of white is surely a very novel and very helpful feature1 from an artistic point of view4 ,the ,travertine staff material used1 the highly successful work of ,mr4 ,paul ,denneville1 with its innumerable fine accidental effects1 so reminiscent of the tone and the weather-beaten qualities of really old surfaces1 is an asset that the sculptors among all the collaborating artists gratefully acknowledge4 ,the artistic value of the ,travertine lies in its beautiful expression of architecture as well as of sculpture4 ,a plain wall becomes a matter of interest and comfort4 ,an ornamental feature or sculpture obtains a wonderful charm and delicacy in this material which is particularly unique in sculpture4 ,the natural ,travertine is a sedimentary deposit dating back1 it is claimed1 to the glacial ages4 ,that imitated here forms the bed of the ,river ,tiber near ,rome and was extensively used for ages in the early ,roman and ,greek era as a building stone for their temples and works of art4 ,while a poor material in cold climates1 because of its striation1 it was always sought in ,italy for its wonderful texture and tone4 ,it was used in the ,coliseum and in many other buildings erected during the ,roman period4 ,it is evident that there has been a very happy and close co-operation between the architect and the sculptor - a desirable condition that1 unfortunately1 does not always exist4 ,architects will sometimes not allow the sculptor to give full expression to his ideas1 will put unwarranted restrictions upon him1 and the result is very one-sided4 ,i had the pleasure of seeing much of the sculpture grow from the sketch to the finished full-scale work1 and the kindliness and the vigorous personality of ,mr4 ,stirling ,calder added much charm and interest to this experience4 ,mr4 ,calder has been the director of the department of sculpture and the inspiration of his own work penetrates that of all his fellow-artists4 ,among them are many specialists1 such as ,frederick ,roth1 for instance1 as a modeler of animals1 who shows in the very fine figure of ,the ,alaskan in the ,nations of the ,west that he is not afraid nor unable to model human figures4 ,practically all of the animals in the grounds show the hand of ,roth4 ,like ,roth1 ,leo ,lentelli did a good share of the task4 ,his work is characterized by much animation and spirit1 but well balanced wherever necessary1 by a feeling of wise restraint4 ,i remember with much horror some of the sculptural atrocities of former expositions that seemed to jump off pedestals they were intended to inhabit for a much longer period than they were apparently willing4 ,repose and restraint1 as a rule1 are lacking in much of our older ,american sculpture1 as some of our ,market-street statuary testifies4 ,it seems that our unsettled conditions find an echo in our art4 ,it is much to be hoped that a certain craving for temporary excitement will be replaced by a wholesome appreciation of those more enduring qualities of repose and balance4 ,calder's work1 no matter how animated1 no matter how full of action1 is always reposeful4 ,his ,fountain of ,energy gives a good idea of what ,i mean4 ,it is the first piece of detached sculpture that greets the ,exposition visitor4 ,its position at the main gate1 in the ,south ,gardens1 in front of the ,tower of ,jewels1 is the most prominent place the ,exposition offers4 ,it is worthy of its maker's talent4 ,its main quality is a very fine1 stimulating expression of joyousness that puts the visitor at once in a festive mood4 ,the ,fountain of ,energy is a symbol of the vigor and daring of our mighty nation1 which carried to a successful ending a gigantic task abandoned by another great republic4 ,the whole composition is enjoyable for its many fine pieces of detail4 ,beginning at the base1 one observes the huge bulks of fanciful sea-beasts1 carrying on their backs figures representing the four principal oceans of the world3 the ,north and ,south ,arctic1 the ,atlantic1 and the ,pacific4 ,some are carrying shells and their attitudes express in unique fashion a spirit of life and energy which makes the whole fountain look dynamic1 in contrast with the static ,tower of ,jewels4 ,everything else in this fountain has the dynamic quality1 from its other inhabitants of the lower bowls1 those very jolly sea-nymphs1 mermaids1 or whatever one may want to call them4 ,they are even more fantastically1 shaped than the larger figures4 ,in their bizarre motives some of the marine mounts look like a cross between a submarine and a rockcod4 ,rising from the very center of the fountain basin1 a huge sphere1 supported by a writhing mass of aquatic beasts1 continues the scheme upwards1 culminating in the youth on horseback as the dominating figure of the whole scheme4 ,the sphere is charmingly decorated with reclining figures of the two hemispheres and with a great number of minor interesting motives of marine origin4 ,the youth on horseback is not exactly in harmony with the fountain2 one feels that the aquatic feeling running through the rest of the fountain is not equally continued in this exceedingly well-modeled horse and youth and those two smaller-scaled figures on his shoulders - ,i feel that the very clever hand of a most talented artist has not been well supported by a logical idea4 ,their decorative effect is very marked1 taken mainly as a silhouette from a distance4 ,they are no doubt effective in carrying upwards a vertical movement which is to some extent interfered with by the outstretched arms of the youth4 ,mr4 ,calder has given us so very many excellent things1 alone and in collaboration with others throughout the ,exposition1 that we must allow him this little bizarre note as an eccentricity of an otherwise well-balanced genius4 ,as long as we are in the ,south ,gardens1 we might take the time to investigate the two fountains on either side of the center1 towards the ,horticultural ,palace on the left and ,festival ,hall on the right4 ,there we find a very lithe mermaid1 used alike on either side1 from a model by ,arthur ,putnam4 ,many of us who for years looked forward to the great opportunity of the ,exposition1 which would give ,arthur ,putnam a worthy field for his great genius1 will be disappointed to know that the mermaid is his only contribution1 and scarcely representative of his original way in dealing with animal forms4 ,the untimely breakdown1 some two years ago1 of his robust nature prevented his giving himself more typically1 for his real spirit is merely suggested in this graceful mermaid4 ,sherry ,fry's figural compositions on the west of ,festival ,hall might well be worthy of a little more attention than their somewhat remote location brings them4 ,the two reclining figures on the smaller domes are reposeful and ornate4 ,a stroll through the flower carpets of the ,south ,gardens1 amidst the many balustrade lighting ,hermae1 discloses a wealth of good architectural sculpture1 which in its travertine execution is doubly appealing4 ,there are four equestrian statues in different places on the north side of the ,avenue of ,palms4 ,two are in front of the ,tower of ,jewels1 the ,cortez by ,charles ,niehaus1 and ,pizarro1 by ,charles ,cary ,rumsey4 ,the third is in front of the ,court of ,flowers1 and the last at the entrance to the ,court of ,palms4 ,the two latter1 ,solon ,borglum's ,pioneer1 and ,james ,earl ,fraser's ,the ,end of the ,trail1 belong as much together as the two relatively conventional ,spanish conquerors guarding the entrance to the ,court of the ,universe4 ,the symbolism of the ,pioneer and ,the ,end of the ,trail is1 first of all1 a very fine expression of the destinies of two great races so important in our historical development4 ,the erect1 energetic1 powerful man1 head high1 with a challenge in his face1 looking out into early morning1 is very typical of the white man and the victorious march of his civilization4 ,his horse steps lightly1 prancingly1 and there is admirable expression of physical vigor and hopeful expectation4 ,the gun and axe on his arm are suggestive of his preparedness for any task the day and the future may bring4 ,contrast this picture of life with the overwhelming expression of physical fatigue1 almost exhaustion1 that ,fraser gives to his ,indian in ,the ,end of the ,trail4 ,it is embodied in rider and horse4 ,man and beast seem both to have reached the end of their resources and both are ready to give up the task they are not equal to meet4 ,the psychology of this great group is particularly fine4 ,it is in things like these that our ,american sculpture will yet find its highest expression1 rather than in the flamboyant type of technically skillful work so abundantly represented everywhere4 ,the ,end of the ,trail could have been placed more effectively in the midst of1 or against1 groups of shrubbery in a more natural surrounding1 where so close a physical inspection as one is invited to in the present location would not be possible4 ,the ,tower of ,jewels1 however1 with its lofty arch and suggestion of hidden things behind it encourages the spirit of investigation4 ,on entering this great arch1 one is suddenly attracted by the pleasing sound of two fountains1 sheltered in the secluded abutting walls of the great tower4 ,minor arches1 piercing the base of the tower west and east1 open up a view toward these sheltered niches1 harboring on the right the ,fountain of ,youth1 by ,mrs4 ,edith ,woodman ,burroughs1 and the ,fountain of ,eldorado at the left1 by ,mrs4 ,harry ,payne ,whitney4 ,these two fountains are totally different in character1 and they could well afford to be so1 since they are not visible as a whole at the same time1 although physically not far apart4 ,mrs4 ,burrough's fountain is very nave in feeling1 very charming in the graceful modeling of the little girl4 ,the decorative scheme of this poetic unit is very simple and well-sustained throughout its architectural parts4 ,mrs4 ,harry ,payne ,whitney's fountain is of the intellectual1 dramatic kind4 ,the treatment of this almost theatrical subject is well balanced4 ,while it does not possess any too much repose1 it is very effective4 ,in general there are three parts to this fountain2 the central doorway of ,eldorado1 just ajar1 disclosing faintly this land of happiness2 while on either side are two long panels showing great masses of humanity in all manner of positions and attitudes1 all striving toward the common goal4 ,some are shown almost at the end of their journey1 overtaken with exhaustion2 others more vigorous are lending a willing arm to the support of their less successful brothers and sisters about to fall by the wayside4 ,the whole composition of those two friezes shows ,mrs4 ,whitney as a very skillful and imaginative artist4 ,it is a gratifying spectacle to see a woman such as ,mrs4 ,whitney1 so much heralded1 possibly against her own inclinations1 in the society columns of ,new ,york1 find the time to devote herself to so serious and professional a piece of work as the ,fountain of ,eldorado4 ,passing through the ,tower of ,jewels into the ,court of the ,universe1 one's attention will be attracted to a number of pieces of detached statuary4 ,the most important among them is ,the ,four ,elements1 by ,robert ,aitken4 ,we all remember ,aitken as the very promising young man who left us before the fire to make a career in the ,east1 after having exhausted all local possibilities1 the ,bohemian ,club included4 ,his figures of the ,four ,elements are typical of his temperament and he acknowledges in them his indebtedness to ,michael ,angelo without being in the least imitative4 ,these four figures are allegorically full of meaning1 and taken simply as sculpture1 they are excellently modeled4 ,his ,fire1 showing a ,greek warrior defending himself from the fiery breath of a vicious reptile1 is novel in its motive1 while ,water discloses ,father ,neptune bellowing out into the briny air1 accompanied by dolphins in rhythmic motions4 ,air1 on the south1 discloses ,aitken as the skillful modeler of less muscular forms of a winged female figure1 which in itself1 without the birds1 is suggestive of its meaning4 ,it was very daring to introduce the story of ,icarus in this group1 by the small-scaled figure of this first mythological aviator on the outside of the wings of the larger figure4 ,it helps to add a note of interest to an otherwise not so interesting part of the group4 ,the ,fountains of the ,rising and the ,setting ,sun are most impressive by their architectonic quality1 and ,weinman's clear style of modeling is seen at its best in the ,tritons in the fountain bowl4 ,the figure of the ,setting ,sun is one of the finest figures of the entire ,exposition4 ,the suggestion of the termination of day1 indicated in the folding of the wings and in the suggestion of physical fatigue1 is very well conveyed4 ,a fine relaxation runs through the whole figure4 ,the ,rising ,sun1 on the other side1 has all the buoyancy of an energetic youth ready for his daily task4 ,with widespread wings1 looking squarely out into the world1 he seems ready to soar into the firmament4 ,the contrast is admirable in these two figures1 and ,weinman deserves all the popular applause bestowed upon his work4 ,paul ,manship has contributed two groups at the head of the east and west steps leading to the sunken gardens1 each group consisting of two figures1 one representing ,festivity1 the other1 ,art and ,music4 ,these groups are used alike on either side4 ,manship deserves to be better represented in the ,exposition than by these two groups alone4 ,his position as one of the very successful of our younger men would have warranted a more extensive employment of his very strong talent4 ,it is rather a flight from those ,manship figures to the colossal groups of the ,nations of the ,east and of the ,west1 but one is irresistibly drawn to these wonderfully effective compositions4 ,their location makes them the most prominent groups in the ,exposition ensemble4 ,the harmonious co-operation of ,calder1 ,roth1 and ,lentelli has resulted in the creation of a modern substitute for the old ,roman quadriga1 which so generally crowns triumphal arches4 ,both groups are so skillfully composed as to have a similar silhouette against the blue sky1 but individually considered they are full1 of a great variety of detail4 ,it was an accomplishment to balance the huge bulk of an elephant by a prairie schooner on the opposite side of the court4 ,considering the almost painful simplicity of the costumes and general detail of the western nations as contrasted with the elaborately decorative accessories1 trappings1 and tinsel of the ,orient1 it was no small task to produce a feeling of balance between these two foreign motives4 ,but what it lacked in that regard was made up by allegorical figures1 like those on top of the prairie schooner1 used not so much to express an idea as to fill out the space occupied by the howdah on the other side4 ,there is a great deal of fine modeling in the individual figures on horse and camel back and on foot4 ,in either one of the two groups much has been lost in the great height of the arches4 ,figures like ,the ,alaskan1 ,the ,trapper1 and ,the ,indian1 for instance1 are particularly fine and they would be very effective by themselves4 ,the ,mother of ,tomorrow in the ,nations of the ,west is a beautifully simple piece of sculpture4 ,the ,nations of the ,east1 like the ,west1 in its entirety1 is the conception of ,a4 ,stirling ,calder1 who modeled the pedestrian figures4 ,with ,mr4 ,calder1 ,messrs4 ,frederick ,g4 ,r4 ,roth and ,leo ,lentelli collaborated4 ,the huge elephant in the center of the group was modeled by ,mr4 ,roth1 also the camels4 ,the mounted horsemen were modeled by ,leo ,lentelli4 ,from left to right the figures are - an ,arab warrior1 a ,negro servitor bearing baskets of fruit1 a camel and rider 7the ,egyptian71 a falconer1 an elephant with a howdah containing a figure embodying the spirit of the ,east1 attended by ,oriental mystics representing ,india1 a ,buddhist ,lama bearing his emblem of authority1 a camel and rider 7,mahometan71 a ,negro servitor1 and a ,mongolian warrior4 ,the size of the group1 crowning a triumphal arch one hundred and sixty feet in height1 may be inferred from the fact that the figure of the ,negro servitor is thirteen feet six inches in height4 ,on the arch beneath this group are inscribed these lines by ,kalidasa3 ,the moon sinks yonder in the west1 while in the east the glorious sun behind the herald dawn appears4 ,thus rise and set in constant change those shining orbs and regulate the very life of this our world4 ,the ,nations of the ,west1 crowning the arch of the ,setting ,sun1 is also the conception of ,a4 ,stirling ,calder1 who modeled the imaginative figures of the ,mother of ,tomorrow1 ,enterprise1 and ,hopes of the ,future4' ,messrs4 ,leo ,lentelli and ,frederick ,g4 ,r4 ,roth collaborated in their happiest style1 the former producing the four horsemen and one pedestrian1 the ,squaw1 and the latter the oxen1 the wagon1 and the three pedestrians4 ,from left to right the figures are1 the ,french ,trapper1 the ,alaskan1 the ,latin-,american1 the ,german1 the ,hopes of the ,future 7a white boy and a ,negro1 riding on a wagon71 ,enterprise1 the ,mother of ,tomorrow1 the ,italian1 the ,anglo-,american1 the ,squaw1 the ,american ,indian4 ,the group is is conceived in the same large monumental style as the ,nations of the ,east4 ,the types of those colonizing nations that at one time or place or another have left their stamp on our country have been selected to form the composition4 ,the following lines by ,walt ,whitman are inscribed on the arch beneath the group of the ,nations of the ,west3 ,facing west from ,california's shores1 inquiring1 tireless1 seeking what is yet unfound1 ,i a child1 very old1 over waves towards the house of maternity1 the land of migrations1 look afar3 look off the shores of my western sea1 the circle almost circled4 ,it is popularly conceded that these two groups are magnificently daring conceptions1 richly worked out4 ,they are probably the largest groups of the kind ever made1 the dimensions of the base being fifty-two by thirty-eight feet1 and the height forty-two feet4 ,looking seaward from the ,court of the ,universe the ,column of ,progress commands attention1 crowned by the ,adventurous ,bowman and decorated at the base with a frieze symbolizing achievement1 or progress4 ,the very fine symbolism in this column deserves to be studied4 ,the position of the column itself is most artistic in its relation to the surroundings4 ,it is too bad1 however1 to see the view from the main court toward the column spoiled by a music pavilion of dubious architectural merit4 ,the effect of the column as seen from any point is inspiring in its monumental grandeur4 ,the group on top1 the ,bowman1 represents man's supreme effort in life4 ,he is supported on the left by his fellow-man1 adding strength and steadiness to his aim1 while on the right the crouching figure of a woman watches anxiously the sureness of his aim4 ,she holds ready in her hand the laurel wreath which she confidently feels will be his just reward4 ,the great ,column of ,progress is the first column in the world1 so far as ,i know1 whose design was inspired by a purely imaginative motive1 and the first sculpture column at any exposition4 ,it must be considered the most splendid expression of sculpture and architectural art in the ,exposition4 ,mr4 ,calder may justly feel proud of this great idea and ,mr4 ,hermon ,mac,neil has added new laurels to his many accomplishments in the free modeling of the very daring group on top4 ,the column itself is decorated with the spiral ascending motive of the ,ship of ,life1 while at the base ,isadore ,konti expresses the striving for achievement in four well modeled panels of huge scale1 representing human life in its progressive stages1 showing men and women in attitudes of hope and despair1 of strength and weakness1 in the never ending task of trying to realize human destiny4 ,the ,court of the ,four ,seasons harbors four groups by ,piccirilli1 representing the seasons in the conventional way1 dividing the year into four distinct parts - spring1 summer1 autumn1 and winter4 ,these four groups of ,piccirilli are not equally successful4 ,by far the most effective is the one representing winter4 ,the severe rigidity of the lovely central standing figure expresses well that feeling of suspended activity which we associate with the conventional conceptions of the season of dormant life4 ,the kneeling side figures are in full harmony of expression with the central figure4 ,they support very well the general scheme4 ,the next best1 to my mind1 seems ,spring1 on account of the very fine psychological quality of the standing figure in giving expression in a very graceful fashion to that invigorating and reviving quality of our loveliest season4 ,the two side figures seem to be gradually awakening to the full development of their powers4 ,next to ,spring1 ,fall1 by the fullness of the decorative scheme1 suggests ,peace and ,plenty in the preparation for the ,harvest ,festival and in the touch of family life of the mother and child on the right4 ,mr4 ,piccirilli's naturalistic modeling does not express itself so well in ,summer4 ,there is so little strictly architectural feeling in that group4 ,i think that ,albert ,jaegers1 with his two single figures on top of the two columns flanking the ,orchestral ,niche1 actually represents our own two seasons much more successfully than does ,piccirilli4 ,jaegers' ,rain and ,sunshine should be used to name the court properly - ,the ,court of the ,two ,seasons1 as we know them in ,california - the dry season1 the season of harvest2 and the wet season1 the one of recuperation4 ,i regret that here an opportunity was lost to add distinction to the many different features of a great undertaking4 ,jaegers has contributed also the figure of ,nature on top of the music niche and the capital bulls on the pylons toward the north of the court4 ,these terra cotta bulls are surely worthy of the adjective derived from them4 ,their relative size is very good1 and to see them in the richness of their color against the upper regions of a dark blue sky is very effective4 ,directly north of the ,court of the ,four ,seasons stands ,miss ,beatrice ,evelyn ,longman's ,fountain of ,ceres1 originally planned for the center of the court1 but so very effective all by itself between the dignified colonnades of the avenue4 ,the fountain is most impressive by its fine architectural feeling1 so uncommon in the work of many women sculptors4 ,the general feeling of it is refinement1 combined with great strength4 ,it is fully deserving of monopolizing a fine setting of dignified architecture1 so richly emphasized by some of the finest old yew trees in the grounds4 ,in the ,court of ,abundance a riot of interesting architectural sculptural details invites the attention of the visitor4 ,beginning with the lower animal forms1 such as crabs and crayfish1 etc41 the entire evolution of ,nature has been symbolized1 reaching its climax in the tower1 where the scheme is continued in several groups in ,chester ,beach's best style4 ,the lowest of these groups shows the ,primitive ,age1 followed above by the ,middle ,ages and ,modernity4 ,the great charm of this finest of all the towers in the ,exposition is its wonderful rhythmic feeling4 ,the graceful flow of line from the base toward the top is never interrupted1 in spite of the many sculptural adornments used on all sides4 ,in front of the tower are two very ornate illuminating shafts1 showing ,leo ,lentelli's diabolical cleverness in making ornament out of human figures4 ,leo ,lentelli's style is particularly well adapted to ,mullgardt's ,court of ,abundance4 ,its care-free1 subtle quality1 full of animation1 presenting new motives at every turn1 is most helpful in the general spirit of festivity which characterizes this most interesting of all the courts4 ,aitken's ,fountain of ,life in the center of the court is totally different4 ,full of intellectual suggestion1 it is almost bewildering in the storytelling quality of its many details4 ,aitken's fountain1 which is situated in the center of a basin a hundred and fifty feet long by sixty-five feet wide1 rises directly from the water4 ,the main structure consists of a series of four groups of heroic-sized figures1 carved in pierced relief1 each flanked by colossal bronze ,hermes1 their arms reaching around the structure and held together by animal forms of reptilian or fishy origin4 ,all these forms and figures surround a globe of enormous size1 typifying the ,earth1 over the surface of which streams of water are thrown from the reptilian chain motive4 ,leading up to the main structure is a group of ten crouching figures1 symbolizing ,destiny in the shape of two enormous arms and hands1 giving life with one and taking it with the other4 ,here1 on the left side1 are arranged figures suggesting the ,dawn of ,life1 while on the right are men and women depicting the fullness and the end of existence4 ,in the first1 ,prenatal ,sleep1 is the crouched form of a woman1 while successively come the ,awakening1 the ,ecstatic ,joy of ,being - or it may be the ,realization of ,living2 the ,kiss of ,life1 with the human pair offering up their children1 representative of the beginnings of fecundity2 a female1 strong of limb and superb of physique1 enfolds in her arms two infants1 while her mate1 of no less powerful build and rude force1 kneeling beside her1 gives her an embrace typical of the overpowering parental instinct4 ,here is the suggestion of the elemental feelings1 the beginnings of things4 ,between the first group and the central one comes a gap1 a space typical of that unknown time in history when conjecture alone permits speculation1 and the story is taken up again with the first of the central groups1 wherein stands a figure of ,vanity1 glass in hand1 symbolizing the compelling motive of so much in human endeavor4 ,to her left1 in enormous contrast1 are primitive man and woman1 treated with great realism1 these two carrying their burdens of life1 in the form of their progeny1 into the unknown future1 their expression that of rude but questioning courage1 the man splendid in his virility1 superb in the attitude of his awkward strength1 ready to meet whatever be the call of earth4 ,his mate meanwhile suggests the overwhelming and eternal instincts of motherhood4 ,an archaic ,hermes1 dividing these figures from the next group1 allows for a space of time to elapse1 and we come to their children1 now grown to manhood and womanhood1 in their rude strength finding themselves1 with the result of ,natural ,selection4 ,this is a group of five personages1 the center figure a man of splendid youth and vigor1 suggesting the high state both of physical and intellectual perfection1 unconsciously attracting the female1 two of whom regard him with favor1 while two males on either side1 deserted for this finer type1 give vent to deep regret1 despair1 and anger4 ,one attempts by brute force to hold the woman2 the other reluctantly gives up his choice1 in the obvious futility of his unequal intellectual endowment to comprehend4 ,from this to the ,survival of the ,fittest we have a militant group1 in which physical strength begins to play its part1 and perhaps discloses the first awakening of the war spirit1 the woman in this case being the exciting cause4 ,the powerful chieftains struggle for supremacy of their time and tribe1 their women making futile efforts to separate them4 ,here the sense of conquest receives its first impression and is finely indicated1 with admirable action1 while there is the symbolism of the conflict of the nations that has ever gone on1 for one cause or another1 and that struggle for the female which has ever been the actuating motive in war1 conquest1 and1 for that matter1 peace4 ,the next group - always separated by the solemn and dignified ,hermae - discloses ,the ,lesson of ,life1 wherein the elders1 with the experience of the years1 offer to hot-headed youth and to the lovelorn the benefit of their own trials and struggles4 ,a beautiful woman is the central figure4 ,she draws to her side splendid manhood1 the ,warrior1 willing to fight for his love and his faith4 ,to his left his mother offers him her affectionate advice1 while to the right a father restrains a wayward offspring who1 rejected by the female1 is in a state of frenzied jealousy4 ,finally two figures represent ,lust1 a man struggling to caress the unwilling woman who shrinks from his embraces1 and we are led down from this pair out of the composition to the crouching group at the approach of the structure1 referred to at the beginning of this description1 who here are departing from the central composition4 ,first is a figure of ,greed looking back on the ,earth4 ,he holds in his hands a mass suggestive of his futile and unsavory worldly possessions1 the unworthy bauble toward which his efforts have been directed4 ,back of him we have the group of ,faith1 wherein kneels a ,patriarch1 who offers consolation to a woman to whom he presents the hope of immortality1 holding in his hands a scarab1 ancient symbol of renewed life4 ,next come two recumbent figures1 a man and a woman1 the first1 ,sorrow1 the other typifying ,final ,slumber4 ,these are about to be drawn into oblivion by the relentless hand of ,destiny4 ,in the center of a formal parapet at the end of the basin of water1 sixty feet from the fountain1 is a colossal figure symbolic of the setting sun1 ,helios1 the great orb having thrown off the nebulous mass that subsequently resolved itself into the earth4 ,in the immediate neighborhood of this ,court of ,abundance is found ,sherry ,fry's figure of ,neptune's ,daughter1 in the open court north of the tower4 ,the figure is not in keeping with the scheme of ,mullgardt's court1 extending in this direction4 ,the effect of this figure1 no matter how graceful it may be1 is unquestionably too physical1 in a certain measure owing to the opportunity for close inspection4 ,on the south of the ,court of ,abundance1 in the ,court of ,flowers1 ,edgar ,walter's fountain has been placed4 ,beauty and the ,beast have been combined in contrasting fashion1 with much effect1 by associating the youthful charms of a graceful maid with the angular ugliness of a dragon1 who seems to feel honored by having been selected as the resting-place of a creature from outside his realm4 ,he seems to be almost hypnotized into a state of abject lifelessness4 ,the effect of this juxtaposition of the round forms of the human body and the almost geometrical angularity of the fabulous beast is very interesting and adds a new note to the many other ideas presented4 ,the architectural scheme of the fountain is made doubly interesting by a rich use of animal forms of humorous character4 ,the immediate vicinity of the ,laguna remains still to be investigated in regard to sculptural adornments4 ,the dozen or so niches in the west front of the main building present a repetition of two individual groups by ,charles ,harley1 of ,new ,york1 of decidedly archaeological character ,the ,triumph of the ,field and ,abundance4 ,they are most serious pieces of work1 possibly too serious1 and they are in great danger of remaining caviar to the masses on account of the complexity of their symbolism and the intellectual character of their motives4 ,their setting is most attractive1 amongst groups of trees and shrubs4 ,maybeck's ,palace of ,fine ,arts is so overwhelming in its architectural effects that one seldom feels like doing justice to the fine sculptural detail everywhere in this building4 ,ralph ,stackpole's interesting ,shrine of ,inspiration is the most charming bit of sculpture1 more detached in its effect than most of the other motives4 ,bruno ,zimm's eight fine friezes1 showing the development and influences of the arts in a very severe1 almost archaic style of modeling1 add a fine note to the dome1 and ,ulric ,ellerhusen's equally architectonic friezes are in good style and are in thorough harmony with the classic quality of this great palace4 ,it is1 of course1 not possible to name all of the many pieces of architectural sculpture used at the ,exposition4 ,the general effect one receives is that it represents the best that is possible in ,exposition sculpture today4 ,it gives evidence of the increasing development of the qualities of design1 as contrasted with the so much looser work of former expositions4 ,seldom before have sculptors anywhere1 since sculpture and architecture first worked hand in hand1 so played their most important roles together in the ensemble setting that constitutes our ,exposition visually4 ,on arch or column1 in niches1 in fountains1 and in free-standing groups1 they sing of many themes1 and always in harmony1 but with no loss of character or individuality4 ,there is no doubt of it1 that1 for an ,exposition1 sculpture is the most important of all the arts1 because it is the most human4 ,without it1 architecture would be cold and without appeal4 ,i foresee a great future for sculpture in ,america1 where our temperament demands it4 ,the educational value of sculpture at an exposition is incalculable4 ,it is a school for the sculptors1 too1 as well as for the public4 ,the ,color ,scheme ,landscape ,gardening ,nothing excites the ,exposition visitor more than the color scheme of the buildings4 ,but excite is really not the proper word1 because there is nothing exciting about it4 ,nothing was farther from ,mr4 ,gurin's mind than to create excitement1 unrest1 or any of those sensations that might lead to fatigue or even to a nervous breakdown4 ,we understand fully by this time that it was ,jules ,gurin who is the responsible artist1 and who supervised the putting into existence of the first real ,gurin that ever was4 ,mr4 ,gurin has the distinction of being the first director of color and of decoration ever appointed for an international exposition4 ,it must become evident to any person who is at all familiar with the fascinating tonal designs ,gurin produces for many of our leading magazines that what he did was nothing but to paint nature as he has been used to represent it in his pictures4 ,gurin must have had a glorious time with that first great opportunity1 so seldom to happen1 of putting all those pet colors of his into the actual outdoors1 there to feast his eyes upon them4 ,it was a daring and novel undertaking1 most successful in a large way4 ,i hope we are going to benefit by this successful experiment and begin to give life to our dreary cement faades1 mournful roofs1 and lifeless window-sashes1 ornamentations1 and what not4 ,we are1 ,i admit1 hopelessly at the mercy of the housepainter1 who knows much about estimates1 something about paint1 and little about color4 ,i hope we are going to learn the difference between paint and color1 the purely physical1 meaningless thing on the one hand1 and the intelligence-conveying1 pleasure-giving element on the other4 ,gurin certainly knows color1 and ,i take it for granted that a man of his training and experience knows how to use paint4 ,his exposition buildings look for all the world like a live ,gurin print taken from the ,century ,magazine and put down alongside of the bay which seems to have responded1 as have the other natural assets1 for a blending of the entire creation into one harmonious unit4 ,i fancy such a thing was possible only in ,california1 where natural conditions invite such a technical and artistic innovation4 ,the general effect is one of great warmth4 ,the basic tone of the travertine furnishes a very rich foundation for the other colors added4 ,the whole range of color is very simple and it is simplicity and repetition over large areas that make the colors so effective4 ,there are three different greens1 for instance - the patina green on many minor domes1 suggesting aged copper surfaces2 a very strong primary green1 on the small doors of the palaces and most of the lattice work2 and another very pale1 pinkish green1 a sort of an abalone shell green1 used on all the flagpole bases1 always topped off with a light pinkish red1 used above the light green base on all the flagpoles4 ,then there are the reds1 a number of different reds1 running from a pinkish brick color to a darker russet red1 to be found exclusively in all vertical panels serving as background for detailed statuary - for instance1 in all the courts4 ,next to the red there is a brilliant orange1 used in relatively small quantities here and there in the mouldings1 as around the ,brangwyn paintings in the ,court of ,abundance4 ,this leaves yet to be named the few soothing blues that abound in the ceilings1 in the deep recesses of the walls1 and the coffered arches1 serving as backgrounds for the many richly-modeled terra cotta rosettes4 ,this is practically the entire range of colors1 but they assume1 of course1 endless variations of tone and intensity1 owing to the difference of the surfaces and the play of light and shadow4 ,the relation of the whole color scheme to the colors furnished by nature is by no means accidental4 ,the effect of the ensemble1 on a calm1 sunny day1 is hard to describe in its gorgeous beauty4 ,the pressing into service of nature as applied to color was particularly inviting1 of course1 on the bay side1 where simple sweeps of skies1 foothills1 and plain bodies of water furnish almost ideal conditions4 ,this is true in a similar way for the background in the west1 but toward the south - well1 we had better forget such mournful outward aspects of our great city of ,san ,francisco1 known around the world for its gay temperament4 ,appreciating the importance of detail1 ,gurin extended his color treatment to practically everything presenting surface4 ,nothing could escape his vigilant eyes4 ,even the sand covering of the asphalted roads is of a peculiarly attractive blend4 ,it seems like a mixture of ordinary sand with a touch of cinnamon4 ,even that corps of stalwart guards had to submit to a tonal harmony of drabs1 with touches of yellow metal1 warm red puttees1 and neat little yellow ,spanish canes4 ,they all seem very proud and appreciative of their part in the concert of colors4 ,and they speak of it with feeling and reverence4 ,not long ago1 during a rather stormy1 wet day1 ,i happened to notice several of these cicerones hiding in a doorway of one of the palaces1 looking most disconsolate4 ,the reason for it became immediately apparent2 the un-,californian weather had forced them to put on civilian overcoats of indescribable hues1 and the shame of being out of color was plainly written in their faces4 ,it shows that art is largely a matter of education4 ,i fancy that all that a respectful and appreciative public could do1 in order to live up to the occasion1 would be to have ,exposition suits built of pongee silk1 or some other harmonious material4 ,so far1 on all of my visits1 ,i observed a shocking preponderance of black1 which ,i hope will eventually yield to the softer colors of lighter materials1 with the arrival of warmer weather4 ,the careful observer will find that the crimson vermilion red of the fire alarm boxes had to yield to a more refined vivid orange1 much1 ,i understand1 to the consternation of the ,exposition fire marshal1 who must have been shocked at this intrusion4 ,the horticultural effect of the grounds1 flower beds1 and shrubbery will always adapt itself properly to the color scheme1 and a preponderance of warm yellows1 reds1 and orange will simultaneously fill out the garden areas4 ,at first yellow pansies and daffodils had control1 to be replaced in due season by the uniform appearance of tulips1 hyacinths1 and successions of other flowers4 ,this progressive appearance of new flower carpets will provide ever-changing elements of interest throughout the entire period of the ,exposition4 ,it seems only right at this time to speak of the great and modestly contributed services of ,john ,mc,laren4 ,he1 with his wide experience and unceasing energy1 created the garden setting which ties all the buildings into a natural harmony4 ,hardly ever have trees1 shrubs1 and flowers been used in such profusion in an ,exposition4 ,conventional in aspect1 all great expositions in the past have been lacking in the invigorating elements1 no matter how naturalistic the site may have been4 ,the few scraggly pines of ,st4 ,louis looked more like undesirable left-overs of a former forest than like a supporting feature of the ,exposition picture4 ,the stony look of many former expostions is not evident at ,san ,francisco4 ,considering the fact that the exposition is largely on made ground1 it is amazing what has been accomplished4 ,with the exception of the few scattering remains of an old amusement park - the ,harbor ,view ,gardens - so charmingly utilized in the courtyard of the ,california building1 practically all the trees and shrubs had to be brought in from the outside4 ,how well ,mr4 ,mc,laren succeeded in moving whole gardens en bloc to the ,exposition is shown by the fact that with the exception of a few ,monterey cypresses on one of the lagoon islands1 not a single tree has died4 ,it was no small task to transplant eucalypti forty feet high1 and aged yew trees1 and the tradition that it is impossible to transplant old trees has again been demonstrated as in the same class with other old sayings based on the experience of the past1 but applying no longer to our own conditions4 ,the stately rows of palms on the south avenue contain some specimens of the ,canary ,island palms which must be nearly forty years old1 and some of the yews in the colonnade between the ,court of the ,four ,seasons and the ,marina1 near ,miss ,longman's ,fountain of ,ceres1 are probably even older4 ,the massing of large groups of black acacia1 ,monterey pines1 and cypresses1 filled in at the edge with veronica and many other flowering shrubs1 gives many interesting notes1 and serves frequently as backgrounds for statuary4 ,like everything else1 from the architecture down1 the garden aspect of the ,exposition is not frugal nor skimpy1 whatever floral effects are used4 ,like shrubbery1 trees occur in great profusion1 and without regard for difficulties in transplanting4 ,the ,court of the ,universe did not receive the generous treatment from ,mr4 ,mc,laren that it almost cries for4 ,the few isolated ,italian cypresses in the ,court1 near the tower1 no doubt help a good deal1 but one is tempted to ask why there are not more of them4 ,italian cypresses are hard to transplant1 particularly if their feet have become accustomed to the peaceful conditions of ,santa ,clara ,valley cemeteries1 where most of them1 ,i understand1 enjoyed an undisturbed existence until they were used so very effectively in the ,exposition4 ,these successfully moved old trees are by far the most useful trees in architectural schemes1 as anybody who knows the ,villa ,borghese in ,rome must admit4 ,i would like to see a law passed that every person at a certain age must plant six ,italian cypresses4 ,i humbly suggest this to our legislators1 who seem to be suffering from a lack of measures to be introduced and passed for the benefit of the people4 ,the ,italian cypress is our most picturesque tree1 and for combination with architecture1 is unrivaled by any other tree4 ,they grow rather slowly1 but do not take much space1 on account of their vertical habit4 ,the making of the ,court of ,palms is due largely to the liberal use of these elegant trees1 with their somber stateliness4 ,the lover of outdoors will find no end to his pleasurable investigations in the many fine1 luxurious groupings of flowering shrubs4 ,heather1 which does so well with us1 and blooms when only few flowers brighten our gardens1 has been profusely used in solid beds at the base of the ,kelham towers1 around ,festival ,hall1 and in many other places4 ,the dainty1 glistening foliage1 interspersed with red berries of another acclimated alien from the ,himalaya ,mountains - the ,cotoneaster - makes fine borders around the pool in the ,court of the ,four ,seasons1 in the ,court of ,palms1 and in several of the colonnades4 ,evergreen plants and shrubs are the dominant features of the two ,italian ,avenues connecting the big court with the side courts4 ,the rich and luxuriant carpets of the many varieties of box1 thuya1 taxus1 and dwarf pine1 in dark1 somber greens and many lighter color variations1 are superb4 ,in the ,court of ,abundance great masses of orange trees furnish the dominant note4 ,they are most effective with their branches heavily laden with fruit4 ,they are not only a surprise to the outsider1 but even to the ,californian1 who wonders at the skill and experience which made this feat possible4 ,mural ,decorations ,in connection with the color1 scheme1 the mural decorations invite attention at many places4 ,the outdoor character of the ,exposition has given unusual locations to some of these decorations4 ,there are in all some thirty4 ,mr4 ,gurin1 as the director of color1 had full charge of their production1 and all of them were painted by men he trusted personally as regards their ability to execute and to finish on time4 ,that his choice fell largely on ,eastern men was only too natural4 ,few people have a proper idea of the magnitude of the work involved in painting a huge decoration1 and ,mr4 ,gurin can hardly be blamed for his choice of the men of experience who finally did the work1 although not all of them justified the confidence placed in them4 ,the work of painting such huge decorations is necessarily a big undertaking1 involving many preliminary studies and much physical and mechanical labor in the end4 ,many painter-decorators employ large numbers of trained men1 apprentices and independent artists1 to assist in the execution of their commissions1 and very frequently the temptation of yielding the pleasure of execution to other hands is the cause of the lowering of standards4 ,probably1 none of the canvases by ,mr4 ,robert ,reid1 in the dome of the ,fine ,arts ,palace1 can be said to do justice to the remarkable decorative talent of ,mr4 ,reid4 ,he is so well and prominently known as a painter of many successful decorations1 in the ,east1 that it is to be regretted that he was not in a happier mood when he came to the task of painting his eight panels of irregular shape for the ,exposition4 ,the very scattered style of painting so effective in many of his easel paintings1 which show all the fine qualities of a modern impressionistic school1 is not of great help in pictures intended to be viewed from a great distance4 ,his decorations present very little opportunity for the eye to rest upon them1 and they are altogether too involved1 in their turbulent compositions4 ,their color is not unattractive1 no matter how cold1 and of sufficient interest to atone for the lack of dignified design4 ,the subjects of all of these are by no means unattractive1 and a description of them reads far better than the pictures look4 ,the birth of ,european art is symbolized in the first panel4 ,there are five dominant figures1 grouped about an altar on which burns the sacred fire4 ,an earthly messenger leans from his chariot to receive in his right hand from the guardian of the flame the torch of inspiration1 while with his left hand he holds back his rearing steeds4 ,in front of these a winged attendant checks for an instant their flight4 ,the central figure1 the guardian of the altar1 still holds the torch1 and below her are three satellites1 one clasping a cruse of oil1 another pouring oil upon the altar1 while she holds in her hand a flaming brand1 ready to renew the flame should it falter1 a third zealously watching the fire as it burns4 ,opposite these a figure holds a crystal gazing-globe1 in which the future has been revealed to her1 but her head is turned to watch the flight of the earthly messenger4 ,the birth of ,oriental art is symbolized in the second panel4 ,the forces of the earth1 wresting inspiration from the powers of the air1 are pictured by a contest between a joyous figure in ancient ,chinese armor1 mounted upon a golden dragon1 combating an eagle4 ,a female figure under a huge umbrella represents ,japan1 while on either side are two other ,oriental figures1 in gorgeous attire1 symbolic of the long periods of ,oriental art4 ,the third panel represents the ,ideals in ,art4 ,there are seven figures1 the ,greek ideal of beauty dominating all in a classic nude4 ,below this ,religion is portrayed1 in a ,madonna and ,child4 ,heroism is shown in ,jeanne d',arc1 mounted on a war-horse and flinging abroad her victorious pennant4 ,a young girl represents youth and material beauty1 while at her side a flaunting peacock stands for absolute nature1 without ideal or inspiration4 ,a mystic figure in the background holds the cruse of oil4 ,over all of them floats a winged figure holding a laurel wreath for the victorious living1 while a shadowy figure in the foreground holds a palm for the dead4 ,the fourth panel represents the inspirations of all ,art1 five figures symbolizing ,music1 ,painting1 ,architecture1 ,poetry1 and ,sculpture4 ,flying above these are two winged figures1 one holding a torch flaming with the sacred oil that has been brought from the altar1 the other drawing back the veil of darkness1 revealing the tangible1 visible expression of ,art to mortal eyes4 ,the four single panels symbolize the four golds of ,california2 the poppies1 the citrus fruits1 the metallic gold1 and the golden wheat4 ,the idea of the four golds is particularly novel and will some day yield far more interesting results1 and ,i hope the subject will not be allowed to lie idle4 ,it is a very fine idea1 too good not to be used permanently in some dignified building in ,california4 ,the ,court of the ,four ,seasons offers a decorative scheme of eight panels above the doorways in the colonnades and two large panels in the orchestral niche on the south4 ,all of these ten paintings were done by ,milton ,bancroft1 one of the younger of the ,eastern decorator-painters1 who took his task seriously enough1 without rising in any of his decorations above the conventional1 with the exception of the ,autumn and the two larger panels in the half dome4 ,all of the seven decorations belonging to the set of eight smaller ones are rather academic in their monotony of symmetrical compositions1 not sufficiently relieved by variety of detail4 ,these decorations have to excess what ,reid's decorations are lacking in1 namely1 repose4 ,their coloring is quiet and in thorough harmony with the architecture4 ,bancroft's two more importantly placed decorations are1 fortunately1 his best efforts4 ,art ,crowned by ,time and ,man ,receiving ,instruction in the ,laws of ,nature are very effective in their stateliness and thoroughly decorative quality4 ,they show the artist's allegiance to the great decorations of the ,renaissance in many quaint ways of filling out the background spaces by puttos holding tablets1 simple bits of architecture1 and conventionalized trees4 ,his figure of ,art is unique among his figures in the decorative pattern used on the mantle which falls gracefully from her shoulders4 ,all the other ,bancroft decorations are devoid of this use of surface patterns1 which are so helpful and interesting in decorative arrangement4 ,it is only a few steps from the ,court of the ,four ,seasons into the ,court of ,palms4 ,in entering through the orchestral niche one passes directly underneath the lunette which holds the very decorative canvas by ,arthur ,mathews1 the acknowledged leader in the art of ,california4 ,it must be said that it does not seem right1 in the light of what has been contributed by men from elsewhere1 that ,mathews' superb talent should have been employed only in one panel4 ,his ,victorious ,spirit1 a rich and noble composition1 has certain enduring qualities which are not to be found in a single one of any of the others4 ,simply taken as a decoration1 his picture is most effective by its richness of color1 and without going into the question of its meaning1 it is thoroughly satisfactory as a decoration4 ,childe ,hassam's lunette1 said to represent ,fruit and ,flowers1 is almost anaemic alongside ,mathews' fullness of expression4 ,nobody ever suspected ,childe ,hassam of being a decorator1 no matter how admittedly important a place he holds in the field of easel painting4 ,the composition of his decorations is frugal in every sense1 largely owing to the small scale of his figures4 ,in the physical center of the composition nothing of interest happens1 and the composition breaks almost in two4 ,the coloring is insipid1 and altogether not in keeping1 in its extreme coldness1 with the happy warmth of the travertine surrounding it4 ,directly opposite1 ,charles ,holloway presents himself in a very happy painting called ,the ,pursuit of ,pleasure4 ,a study of this picture can result in nothing but complete satisfaction4 ,it is well and interestingly composed1 lively in arrangement1 in good scale1 and not lacking in a certain feeling of repose1 so essential in a good decoration1 and1 for that matter1 in any work of art4 ,in the great arch of the ,tower of ,jewels the most elaborate decorations of ,mr4 ,william de ,leftwich ,dodge1 of ,new ,york1 command attention first of all by their fine and lively colors4 ,these decorations show a most experienced artist1 treating a wide variety of interrelated subjects with great skill4 ,these enormous canvases1 sixteen by ninety-six feet in size1 are divided into a triptych1 each picture continuing its central scheme into two smaller side panels4 ,the great composition to the left is labeled ,the ,atlantic and the ,pacific1 with a picture of ,the ,purchase on the right and ,the ,discovery on the left4 ,opposite we have the ,gateway of all ,nations1 with ,labor ,crowned and ,the ,achievement on either side4 ,mr4 ,dodge has a very fine sense of decoration1 which he used with much skill4 ,his command of human forms1 together with the complete mastery of all other detail1 enables him to paint very easily decorations which leave no doubt as to his long and varied experience in this field4 ,the ,atlantic and the ,pacific is very interesting in its formal symmetry1 splendidly relieved by the individual treatment of the eastern and western nations which receive with expressions of joy the completion of the great waterway which means so much for the furthering of their mutual interests4 ,the ,gateway of all ,nations on the opposite side is less symmetrical1 but very well balanced in its arrangement of many elements1 naturalistic as well as allegorical4 ,on the left1 in the middle picture1 one sees the retiring forces of labor1 proudly watching the great procession of varied ships1 moving in a joyous parade1 led by ,father ,neptune and attendants1 towards the recently opened gate4 ,preceding ,father ,neptune are allegorical figures1 rhythmically swinging away into the sky4 ,all of ,dodge's decorations are good for their sound decorative treatment1 always sustaining well the architectural surrounding frame1 so particularly important in this great and massive tower4 ,dodge's backgrounds are devoid of any naturalistic suggestion1 which so often destroys otherwise effective decorations4 ,the function of a decoration must always be to preserve the feeling of the wall1 as opposed to the work of the easel painter1 who wants to assist in forgetting that there is a canvas and to suggest that we are looking into the far distance4 ,a good decoration should1 as it were1 allow the driving of a nail into any part of its surface - it should not make a hole in the wall4 ,in the two triumphal arches of the ,nations of the ,east and the ,west1 ,frank ,vincent ,du ,mond and ,edward ,simmons1 respectively1 contributed to the scheme of decorations4 ,in the western arch1 ,du,mond painted a continuous frieze of the march of civilization towards the great ,west4 ,his work is most conscientiously done1 very intellectual1 and most effective in color1 as well as in arrangement4 ,you see in his continued scheme the entire story of western development4 ,it begins with the youth departing from his old father1 who only reluctantly - feeling the infirmities of old age - stays behind4 ,preceding the young man1 the historical prairie-schooner1 accompanied by pioneers1 continues the procession4 ,this is developed further in historical groups of soldiers1 priests1 and men representing the intellectual rise of the great ,west4 ,there is ,william ,keith1 with the palette1 ,bishop ,taylor1 ,bret ,harte1 ,captain ,anza1 and other well known western figures1 taking their place in the procession of tent wagons and allegorical figures1 all striving towards that very fine group representing ,california in all the gorgeousness and splendor of the ,golden ,state4 ,this composition of ,california1 taken by itself1 is one of the very best passages in the whole decoration1 and could very effectively be used all by itself4 ,on the east1 ,edward ,simmons presents two very charming compositions1 full of great refinement and delicacy4 ,the refined coloring of his decorations1 so very delightful by themselves1 is not in accord with the architecture1 and in the overawing surroundings of the great arch they do not look as well as they might in a more intimate scheme of smaller scale4 ,the one to the left1 as seen from the ,court of the ,universe1 tells of the dreams which led to the exploring and exploiting of the great ,west4 ,carefully designed figures of great refinement4 represent ,hope and ,illusory ,hope1 scattering tempting bubbles1 heading the procession of stately women4 ,they are followed by ,adventure1 ,art1 ,imagination1 ,truth1 and ,religion and a group suggesting family life4 ,on the opposite side the westward trend of ,war1 ,commerce1 ,conquest1 ,imagination1 and ,religion from all corners of the earth is typified4 ,mr4 ,simmons in all his work employs a very unusual technique of broken columns1 without losing a certain desirable simplicity of surface4 ,his allegorical theme on the north side will linger in the minds of the people as one of the best of the ,exposition decorations1 particularly for its graceful drawing4 ,it seems hardly possible to do adequate justice to the very unusual genius of ,frank ,brangwyn1 who charms thousands of ,exposition visitors with his eight panels1 representing the ,four ,elements1 in the ,court of ,abundance4 ,brangwyn's pictures have one great advantage over all of the others1 which lies in their accessible location1 well controlled by daylight4 ,all the other decorations seem to me to be situated too high above the ground4 ,brangwyn's have no such disadvantage to contend with4 ,how much more important1 for instance1 ,mathews' lunette would look1 placed somewhere nearer the level of the eye4 ,brangwyn's canvases are a veritable riot of color1 full of animation and life4 ,they are almost dynamic4 ,there seems to be something going on in all of them1 all the time1 and one hardly knows whether it is the composition1 the color1 or the subject1 or all three1 which gives them this very pronounced feeling of animation4 ,he knows how to approach the extreme possibilities in pictorial decoration without losing sight of certain elements of repose4 ,seen from a distance1 their effect at first is somewhat startling1 owing to their new note1 not reminiscent in the very least of the work of any other living - or past - painter4 ,on closer examination they disclose a great wealth of form1 very skillfully treated4 ,there is every indication that it gave the artist the utmost pleasure to paint them4 ,this spirit of personal enjoyment1 which all of them convey in a remarkably sustained fashion1 is contagious1 and disarms all criticism4 ,they are primarily great paintings in a technical sense4 ,added to that quality is a passionate love of pure color1 juxtaposed with fine feeling for complementary colors of great intensity4 ,brangwyn's glass window technique1 of separation into many primary and secondary colors by many broad contrasts of neutral browns and grays1 is very effective in bringing a feeling of harmony in all of his paintings1 no matter how intense their individual color notes may be4 ,his pictures are not intellectual in the least1 and all of the people in his pictures are animals1 more or less1 and merely interested in having a square meal and being permitted to enjoy life in general1 to the fullest extent4 ,the quality of enjoyment that runs through all of ,brangwyn's work is extremely useful in the general atmosphere of ,mullgardt's court4 ,in the northwest corner1 ,nature is represented1 in all the fecundity of the earth4 ,only in our wildest dreams1 and only in the advertisements of ,california farm lands and orchards1 do such grapes1 pumpkins1 pears1 and apples exist4 ,the picture to the left shows the grape-treaders1 in the old-fashioned and unhygienic practice of crushing grapes by dancing on them in enormous vats4 ,others are seen gathering and delivering more grapes4 ,as in the other picture1 showing the harvest of fruit1 more people are shown4 ,brangwyn never hesitates to use great numbers of people1 which seem to give him no trouble whatever in their modeling and characterization4 ,following on to the right1 ,fire1 represented as the primitive fire and as industrial fire1 in two pictures1 continues the scheme4 ,that group of squatting woodmen carefully nursing a little fire is almost comical1 with their extended cheeks1 and one can almost feel the effort of their lungs in the strained anatomy of their backs4 ,there does not seem to be anything too difficult for ,brangwyn4 ,industrial ,fire is interesting from the decorative note of many pieces of pottery in the foreground4 ,they seem to have come from the kiln which muscular men are attending4 ,water is unusually graceful and delicate in its vertical arrangement of trees and the curve of the fountain stream1 coming from the side of a hill4 ,women1 children1 and men have congregated1 taking their turn in filling all sorts of vessels1 some carried on their heads1 some in their arms4 ,brangwyn's clever treatment of zological and botanical detail is well shown in flowers in the foreground1 such as foxglove and freesia1 and the graceful forms of a pair of pinkish flamingoes4 ,in the other panel of the same subject1 a group of men on the shore are hauling in their nets4 ,the last of the four1 ,air1 represents this element in two totally different ways2 the one on the left gives the more tender1 gentle movement of this element1 in the suggestion of the scent of the bowmen screened by trees1 moving toward their prospective prey1 while the other very bold composition is of a windmill turned away from the destructive power of an impending windstorm4 ,in the foreground people are rushed along by gusts of wind1 while children1 unaware of the impending storm1 are flying kites4 ,the masterful and varied treatment of these eight canvases show ,brangwyn as the great painter he is known to be4 ,we should rejoice to have such excellent examples of his brush permanently with us4 ,while not exactly belonging to the number of official decorations1 ,edward ,trumbull's wall paintings in the unique ,pennsylvania building are of great interest4 ,thoroughly dignified in their composition1 they are most descriptive in their subject-matter4 ,the ,pennsylvania ,industries are on the west side and ,penn's ,treaty with the ,indians on the other4 ,it is evident that ,trumbull is a disciple of ,brangwyn1 though a personal note is not lacking in his work4 ,the tea-room of the ,california building harbors some mural decorations by ,miss ,florence ,lundborg which the male part of the population can enjoy only by special invitation4 ,i regret that they are not placed somewhere where the casual ,exposition stroller can see them1 because they are deserving of more attention than they are apt to receive4 ,miss ,lundborg's artistic contributions have for many years been along the lines of decorations and in this big1 well-composed figural scheme she discloses again a very fine1 sympathetic understanding of the problems of a wall decoration4 ,the color scheme is very refreshing and gives life to a large hall which has been endowed with unusual distinction by ,miss ,lundborg's art4 ,a number of decorative floral medallions complete a scheme which is characterized throughout by dignity and sympathy4 ,the ,illumination ,conclusion ,while a daytime investigation of the ,exposition no doubt has its rewards1 the full meaning of the ,exposition reveals itself at night4 ,never before has an ,exposition been illuminated in the unique fashion of the ,panama-,pacific ,international ,exposition4 ,former exposition lighting consisted of a lavish display of lighting fixtures1 and of unavoidable millions of glaring bulbs1 the number of which nobody was permitted to forget4 ,the offensive glare of the direct light had to be eliminated to preserve that feeling of tonality1 of restfulness1 so impressive in daytime4 ,in other words1 the sources of all lights at night have been concealed1 or so concentrated that they could be far removed1 so as not directly to offend the eye4 ,the effect is very much like the flood of light of a full-moon summer night4 ,in speaking of the rich mellowness of the lighting effect1 one feels again compelled to speak of the travertine stucco as the artistic foundation of not only the architecture1 sculpture1 painting1 and landscape garden effects1 but also of the illuminating effects designed by ,mr4 ,w4 ,d',a4 ,ryan1 and executed by ,mr4 ,guy ,l4 ,bayley4 ,without the mellow walls and rich orange sculptural details1 no such picture of tonal beauty could have been produced4 ,it is difficult to single out1 among the many suggestive pictures1 the most alluring one1 but ,i may safely say that the first half hour after the close of day1 as enjoyed around the lagoon1 with the ,fine ,arts ,building in the background1 reflected in the waters1 will linger forever in the minds of all who are privileged to see it4 ,such blues ,i have seen only in pictures by ,maxfield ,parrish4 ,combined with the rich gold of the colonnade1 they are almost supernatural4 ,the whole effect1 as reflected in the placid surface of the lagoon1 occasionally broken here and there by a slowly moving waterfowl1 or the protruding mouth of a carp1 is inspiring1 and must awaken an aesthetic response in the soul of the most ordinary mortal4 ,very quickly1 however1 does this colorful picture change1 and the very intense blue of the early evening sky rapidly changes into a colorless black4 ,the ,palace of ,fine ,arts1 above all others1 offers many wonderful bits of enchantment at night4 ,it seems to have been thought out not only for its daytime effect but for the night as well4 ,of the inner courts1 those with larger and smaller bodies of water are most effective at night4 ,the ,court of the ,four ,seasons1 with its placid1 shrub-encircled pool1 is doubly interesting at night4 ,the four wall-fountains add much to the outdoor feeling that this court possesses1 by reason of the suggestive murmur of the waters1 descending in gentle splashes from bowl to bowl4 ,the most striking court1 in its mysteriousness1 is ,mullgardt's ,court of ,abundance1 particularly so on a foggy night4 ,large volumes of vapor are lazily rising from huge bowls and torches1 below1 and in the tower1 suggesting the early days of the cosmic ,all1 cooling off from the turbulent period of its creation4 ,the fogs sweeping from the bay add more mystery1 and with the gorgeous perfume of the hyacinth carpet in the garden spaces1 the effect is almost narcotic4 ,the whole court1 under these conditions1 seems heavy with the atmosphere of abundance1 of physical well-being1 of slumbering natural powers4 ,at the same time1 it is truly religious in its effect of turning the mind away from the ordinary world into the realm of the mystic and the supernatural4 ,i never realized what our ,san ,francisco fogs could produce in artistic effects until ,i visited ,mullgardt's court on a foggy night4 ,the effect of the fog is absolutely ennobling4 ,so many things like these1 possibly not originally thought of1 have added1 together with the illumination1 rare charm to the ,exposition4 ,great masses of pigeons1 attracted by the light thrown upon the two great groups of the ,nations of the ,west and of the ,east1 give an unusually inspiring touch to the ,exposition at night4 ,the spectacle of these graceful birds encircling rhythmically the great sculptural piles1 apparently enjoying the bath of light1 will never be forgotten4 ,these pigeons seem to have decided to live in the ,exposition2 they are there always1 and apparently glad to play their part in the ,exposition ensemble4 ,the lesson of the ,exposition will be far reaching in its many demonstrations of the commercial value of artistic assets4 ,the whole ,exposition is really a city-planning exposition of the first order4 ,any city-builder1 by the respectful use of the great fundamental principles of balance1 harmony1 and unity1 cannot help but do on a large scale what the ,exposition presents in a more condensed fashion4 ,i admit that we have made tremendous strides in the remodeling of many of our large cities1 particularly in the ,east1 but we are still constantly starting new cities in the old planless way4 ,our only practical and lasting effort in ,san ,francisco along the lines of civic progress has been made in the civic center1 where a far-reaching plan has been adopted and partly put into existence1 and in some of our very charming newer restricted residence districts in the western end of the city1 like ,st4 ,francis ,wood1 or in ,northbrae and ,claremont1 in ,berkeley1 and elsewhere around the bay4 ,there is no doubt that we must better capitalize our own artistic assets1 which we often allow to lie idle before we ever utilize them properly4 ,the water front1 ,telegraph hill1 the ocean shore1 ,sutro ,heights1 and ,lincoln ,park are all waiting to be developed in such a way as the ,exposition suggests4 ,the talk of cost is idle twaddle4 ,if the ,exposition1 as an artistic investment1 pays - and ,i see no reason whatever why it should not pay for itself - then we cannot do anything better than to invest our money wisely in other artistic improvements of a permanent character4 ,san ,francisco is known all the world over for its unique location1 rivaled only by that of ,marseilles1 and we have now the responsibility to use this natural asset1 for which many envy us4 ,the ,exposition will start an avalanche of improvements along artistic lines which will be given increasing momentum by the development of long periods of prosperity4 ,the most urgent need1 no1 doubt1 is the establishment of a municipal art gallery in the civic center1 the only ideal place for it1 where the workingman from the ,mission and the merchant from west of ,van ,ness avenue will find it equally convenient of access4 ,if a smaller number of citizens could raise the money for a municipal opera house1 there should be no trouble in getting funds for a building devoted to a far more extensive public benefit1 like an art gallery4 ,people generally will want to know why it is that certain things can be given to them for one year1 so successfully1 and why it should not be possible to have them with us permanently4 ,the inspiring lesson of beauty1 expressed so simply and intelligently1 will sink deep into the minds of the great masses1 to be reborn in an endless stream of aesthetic expression in the spiritual and physical improvement of the people4 ,we1 out here in the ,west1 have been measuring the tide of human progress in biological terms4 ,we have almost forgotten the days of our great calamity1 and still speak of them in that typical expression of apprehension of the earthquake babies4 ,let us think now of the future and its bright prospects1 inaugurated so auspiciously for the benefit of our ,exposition generation4 ,appendix ,guide to ,sculpture ,south ,gardens3 ,fountain of ,energy 7center7 - ,a4 ,stirling ,caller ,directly opposite the main entrance1 the most conspicuously placed fountain in the grounds4 ,the four major figures in the bowl represent the ,pacific1 the ,atlantic1 and the two ,arctic oceans4 ,the minor eight figures suggest the marine character of the fountain4 ,the reclining figures on the sphere typify the two hemispheres4 ,the youth on horseback represents energy and strength4 ,the ,mermaid 7fountains in long pools7 - ,arthur ,putnam ,the same figure is used twice1 near the ,horticultural ,palace on the west and ,festival ,hall on the east4 ,equestrian ,statue1 ,cortez - ,charles ,niehaus ,guarding the ,tower of ,jewels4 ,this statue represents the great ,spanish conqueror4 ,as one faces the tower1 this figure is on the left4 ,equestrian ,statue of ,pizarro - ,charles ,cary ,rumsey ,similar in type and feeling to the preceding statue on the right1 in front of the ,tower of ,jewels4 ,horticultural ,building3 ,frieze at ,base of the ,spires - ,eugene ,louis ,boutier ,loose arrangement of standing female figures surrounding the bases of the spires on all sides of the ,horticultural ,palace1 with no other meaning than that of decoration4 ,pairs of ,caryatides - ,john ,bateman ,architectural vertical members supporting the pergola around the ,horticultural ,palace4 ,used also on the ,young ,women's ,christian ,association and the ,press buildings1 near the main entrance4 ,tower of ,jewels3 ,statues of ,priest1 ,soldier1 ,philosopher1 and ,adventurer - ,john ,flanagan ,four figures suggestive of the forces which influenced the destinies of our country4 ,very big in scale - about twice life size4 ,they are standing on a row of columns below the cornice on the tower and are repeated on all four sides4 ,the ,armored ,horseman 7,terrace of the ,tower7 - ,f4 ,m4 ,l4 ,tonetti ,a decorative equestrian statue on the lower terrace of the tower above the preceding figures - repeated sixteen times4 ,tower ,colonnades3 ,fountain of ,youth 7east end7 - ,edith ,woodman ,burroughs ,snugly placed inside the abutting walls1 east of the ,tower of ,jewels4 ,naive in character and simple in treatment1 without any further symbolical meaning than that suggested by the name4 ,motif in side panels1 ,ship of ,life4 ,fountain of ,el ,dorado 7west end7 - ,mrs4 ,harry ,payne ,whitney ,in position similar to the preceding1 west of the ,tower of ,jewels4 ,a triptych of dramatic expression1 naturalistically treated4 ,festival ,hall3 ,figure crowning the minor ,domes - ,sherry ,e4 ,fry ,a standing finial figure1 on the minor domes1 of graceful pose4 ,two groups in front of the ,pylons - ,sherry ,e4 ,fry ,practically conceived as wall fountains1 they are composed of the figure of a girl1 suggesting the joy of life1 emphasized by young ,pan1 with a lizard1 at the base on the left1 and a seated young girl on the right4 ,cartouche over the entrance 7figures only7 - ,sherry ,e4 ,fry ,an architectural unit over the big arch of the main central dome1 outside the building1 for decorative effect4 ,reclining figures on ,pylons - ,sherry ,e4 ,fry ,a male and a female figure1 reclining1 crowning the architectural units projecting into the ,south ,gardens4 ,suggestive of life and pleasure4 ,court of ,palms3 ,equestrian statue1 ,the ,end of the ,trail - ,james ,earl ,fraser ,at the entrance of the ,court of ,palms1 off the main avenue opposite the ,horticultural ,palace4 ,symbolical figure1 representing the destinies of the vanishing red race2 to be considered in connection with the ,pioneer at the entrance of the ,court of ,flowers4 ,the ,fairy 7,italian ,towers - ,palms and ,flowers7 - ,carl ,grupp ,a figural termination of the four towers guarding the entrances to the ,courts of ,palms and of ,flowers4 ,caryatides - ,john ,bateman and ,mr4 ,calder ,winged half-figure in the attic-space1 repeated all around the court4 ,spandrels - ,albert ,weinert ,reclining decorative figures composed into the triangular spaces over all the doorways in the corridor4 ,court of ,flowers3 ,equestrian statue1 ,the ,pioneer - ,solon ,borglum ,at the entrance of this court4 ,representing the white man and his victorious civilization4 7,to be studied with ,the ,end of the ,trail47 ,lions 7at the entrances7 - ,albert ,laessle ,very conventional architectural decorative animal forms at the entrance inside the ,court of ,flowers - used six times4 ,the ,fairy 7above the ,italian ,towers7 - ,carl ,gruppe ,see ,fairy under ,court of ,palms by the same artist4 ,central ,fountain1 ,beauty and the ,beast - ,edgar ,walter ,decorative fountain inside the court1 with crowning figure of a young woman1 reposing on a fabulous beast4 ,flower ,girls 7in niches7 - ,a4 ,stirling ,calder ,repeated figures1 conventionally treated1 of young women1 decorated profusely with flower garlands1 in the attic space4 ,court of ,abundance3 ,groups on the altar in the main tower - ,chester ,beach ,these groups constitute the historical composition in the tower on the north side of the court4 ,beginning with the lower one1 they represent the primitive ages1 the middle ages1 and modern times4 ,group at column bases and finials - ,leo ,lentelli ,decorative figures4 ,used four times at the base of the shaft near the tower4 ,a single finial figure of a girl with a bow is used on top of the same column4 ,fountain of the ,earth 7central pool7 - ,robert ,i4 ,aitken ,an architectural composition telling the story of human life in its many phases4 ,the outstretched arms on the south side represent destiny giving and taking life4 ,figures on top of the ,arcade - ,albert ,weinert ,primitive men1 with the pelican and deer2 the mother with a child is repeated all around the court4 ,aquatic ,life 7north extension7 - ,sherry ,b4 ,fry ,a figure which might represent ,neptune's daughter4 ,this figure stands north of the tower in the open space toward the ,marina below1 between the ,palaces of ,transportation and ,mines4 ,court of the ,universe3 ,the ,nations of the ,east2 ,the ,nations of the ,west - ,a4 ,stirling ,calder1 ,leo ,lentelli1 and ,frederick ,c4 ,r4 ,roth1 collaborators4 ,colossal groups on top of the two great arches1 representing1 in many types1 ,western and ,eastern civilization4 ,statues on columns 7eastern and western arches7 - ,leo ,lentelli ,winged statues standing on top of columns on the inside as well as the outside of the two great arches4 ,spandrels1 ,pegasus - ,frederick ,g4 ,r4 ,roth ,triangular compositions spanning the arches1 repeated on both sides4 ,medallion - ,b4 ,bufano ,circular decorations of male figures on the left side of the arch without any meaning other than architectural effect4 ,medallion - ,a4 ,stirling ,calder ,same as above1 of female figures1 on the right side of the arches4 ,the ,stars 7colonnades7 - ,a4 ,stirling ,calder ,very conventional standing figure1 with hands united above the head1 forming a star with radiated head-dress1 placed on the balustrades of buildings adjoining the court and in the avenue leading north from the court4 ,frieze on corner pavilions1 ,signs of the ,zodiac - ,hermon ,a4 ,mac,neil ,decorative friezes on four sides of the four corner pavilions1 of mythological character4 ,two fountains1 ,the ,rising ,sun and ,the ,setting ,sun - ,adolph ,a4 ,weinman ,two columns rising from fountain bowls and crowned by winged figures1 of a woman1 representing the ,setting ,sun1 on the left1 and of a winged male figure1 the ,rising ,sun1 on the right4 ,four reclining figures1 ,the ,elements - ,robert ,i4 ,aitken ,at the head of the stairs leading into the sunken garden2 on the left1 near the ,music ,pavilion1 ,fire2 on the right1 ,water2 on the left1 near the tower1 ,air2 on the right1 ,earth4 ,two ,groups - ,paul ,manship ,near the arches at the head of the steps1 two figural groups4 ,one is of female figures1 suggesting pleasure2 the other1 music and art4 ,western ,plaza1 in ,front of ,machinery ,palace3 ,monument1 ,genius of ,creation - ,daniel ,chester ,french ,group of allegorical figures1 suggestive of the development of the human race4 ,court of the ,four ,seasons3 ,four groups representing ,the ,seasons - ,furio ,piccirilli ,in niches4 ,southeast corner1 ,winter2 northeast corner1 ,fall2 southwest corner1 ,spring2 northwest corner1 ,summer4 ,the ,harvest 7above the half dome7 - ,albert ,jaegers ,seated figure with a horn of plenty and other agricultural emblems4 ,rain and ,sunshine 7figures on columns7 - ,albert ,jaegers ,standing female figures on columns on either side of the half dome4 ,sunshine1 holding a palm branch1 is on the left1 and ,rain1 holding up a shell1 on the right4 ,groups1 ,feast of ,sacrifice1 on the pylons in the forecourt - ,albert ,jaegers ,the two groups on top of the building1 in which huge bulls predominate1 led by a young woman and a young man2 very decorative4 ,fountain1 ,ceres - ,evelyn ,beatrice ,longman ,situated halfway between the ,court of the ,four ,seasons and the ,marina1 in an avenue leading north2 architectural in character4 ,spandrels 7arcade7 - ,august ,jaegers ,reclining female figures above the arches at the west and east entrance of the ,court of the ,four ,seasons4 ,attic figures - ,august ,jaegers ,standing decorative figures of architectonic feeling1 in the attic above the preceding figures4 ,varied ,industries ,palace3 ,tympanum group in the doorway - ,ralph ,stackpole ,groups of men and women in the lunette of the ornate doorway on the south side4 ,secondary group1 doorway - ,ralph ,stackpole ,groups above the preceding one1 showing ,age transferring his burden to ,youth4 ,figure for niches1 doorway 7man with the pick7 - ,ralph ,stackpole ,a repeated figure of a miner1 of relatively small scale1 on the consoles in the doorway4 ,figure for keystone in doorway - ,ralph ,stackpole ,a small seated figure of a laborer1 on the headstone4 ,figure for niches1 on the east faade of this ,palace and of the ,palace of ,mines - ,albert ,weinert ,standing figure in niches above doors1 also used in avenue leading into the ,court of ,abundance from the east4 ,west ,wall of the ,palaces 7facing ,fine ,arts73 ,motifs for wall niches 7,triumph of the ,field and ,abundance7 - ,charles ,r4 ,harley ,seated male and female figures surrounded by a great wealth of emblematic forms4 ,the male represents ,triumph of the ,field2 the female1 ,abundance4 ,figures on columns 7flanking the half domes73 ,philosophy and ,physical ,vigor - ,ralph ,stackpole ,a colossal figure of a youth1 on top of free-standing columns on the west wall of the main buildings4 ,palace of ,fine ,arts3 ,standing figure1 inside of the rotunda on top of columns - ,herbert ,adams ,figures in the attic of the rotunda - ,ulric ,h4 ,ellerhusen ,standing females and males between architectural friezes immediately below the cupola of the dome4 ,frieze on the altar - ,bruno ,louis ,zimm ,figural frieze at the base of the rotunda facing the ,laguna can only be seen from a great distance across the water4 ,relief panels for the rotunda - ,bruno ,louis ,zimm ,eight panels on the outside1 of strictly architectural character1 representing a procession1 showing the development and influence of art4 ,friezes around the base on the ground - ,ulric ,h4 ,ellerhusen ,figures with garlands1 used everywhere at the base of the building4 ,figures on the flower boxes - ,ulric ,h4 ,ellerhusen ,standing figures1 looking inward1 representing introspection4 ,kneeling figure on the altar - ,ralph ,stackpole ,the shrine of worship4 ,that delicate small figure seen best from across the laguna in front of the rotunda4 ,north ,faade1 ,main ,group of ,exhibit ,palaces3 ,figure for central niches1 ,conquistador - ,allen ,newman ,a ,spanish soldier1 with helmet and sword and a large mantle4 ,figure for side niches1 ,the ,pirate - ,allen ,newman ,a coarsely shaped man1 in small niches on the north side of the main buildings near the preceding one4 ,column of ,progress3 ,bas-relief 7four sides of the pedestal7 - ,isidore ,konti ,four allegorical friezes depicting man's striving for achievement4 ,finial group1 ,the ,adventurous ,bowman1 frieze and decoration - ,hermon ,a4 ,mac,neil ,the group on top of the column suggests man's supreme effort in life1 the supporting frieze is ,the ,toilers4 ,palace of ,machinery3 ,figures on columns 7four ,powers7 - ,haig ,patigian ,repeated large scale figures of men1 representing the industries exhibited within the building4 ,friezes for columns1 vestibule - ,haig ,patigian ,decorative architectural figure compositions of similar subjects4 ,spandrels 7two pairs7 - ,haig ,patigian ,reclining figures filling out the triangular spaces above the doors in the vestibule reflecting the purpose of the building4 ,palace of ,education3 ,repeated figure within the ,half ,dome1 of ,thought - ,albert ,weinert ,standing figure of a maiden with a scroll inside the portal1 repeated eight times4 ,palace of ,food ,products3 ,repeated figure within the ,half ,dome1 ,physical ,vigor - ,earl ,cummings ,similar to that above1 inside the ,portal of ,vigor1 showing a standing young man1 with an oak wreath4 ,friezes and figures in niches1 main south entrance 7portals of the ,manufacturers and ,liberal ,arts ,palaces7 - ,mahonri ,young ,figures representing domestic life and industries like foundry work1 smithing1 spinning1 and sculpture4 ,figures in the niches3 woman with spindles and men with hammers4 ,tympanum panels 7north and south entrances of the ,palace of ,education7 - ,gustave ,gerlach ,decorative panels above the doors outside of the building showing maternal instruction4 ,panels inlaid in the walls over the minor entrances ,pupils of the ,school of ,sculpture of the ,society of ,beaux ,arts ,architects and ,national ,sculpture ,society4 ,decorative panels of school life and of science4 ,figure1 ,victory1 on the gables of the palaces - ,louis ,ulrich ,a winged figure used on top of all the palaces4 ,mural ,decorations ,court of ,abundance3 ,earth - ,frank ,brangwyn ,northwest corner of the corridor1 two panels3 grape-crushers on the left and fruit-pickers on the right4 ,fire - ,frank ,brangwyn ,two panels in the northeast corner of the corridor4 ,primitive ,fire on the left and ,industrial ,fire on the right4 ,water - ,frank ,brangwyn ,two panels in the southeast corner of the corridor4 ,fountain motive on the left and fishermen hauling nets on the right4 ,air - ,frank ,brangwyn ,two panels in the southwest corner of the corridor4 ,in the left panel1 the scent of hunters carried toward their prospective prey4 ,a windmill on the right4 ,court of the ,four ,seasons3 ,spring - ,h4 ,milton ,bancroft ,two murals above the doorway in the colonnade 7southwest corner74 ,to the left1 ,spring2 to the right1 ,seedtime4 ,summer - ,h4 ,milton ,bancroft ,two murals similar to those in the northwest corner of the court4 ,fruition on the right2 ,summer on the left4 ,autumn - ,h4 ,milton ,bancroft ,in the northeast corner of the court1 two panels3 ,autumn on the right2 ,harvest on the left4 ,winter - ,h4 ,milton ,bancroft ,similar in location to the preceding1 in southeast corner4 ,two murals1 ,festivity on the right2 ,winter on the left4 ,man ,receiving ,instruction in ,nature's ,laws - ,h4 ,milton ,bancroft ,one upright panel1 in the half dome on the right4 ,art ,crowned by ,time - ,h4 ,milton ,bancroft ,on the left opposite the preceding4 ,eastern ,arch1 ,court of the ,universe3 ,hope and ,attendants3 7,on the north wall7 - ,edward ,simmons ,historical types3 7,on the south wall7 - ,edward ,simmons ,representing ,greece1 ,italy1 ,spain1 ,england and ,france1 on the south wall4 ,tower of ,jewels3 ,the ,atlantic and ,pacific 7in the center72 ,the ,discovery 7on the left27 ,the ,purchase 7on the right7 - ,william de ,leftwich ,dodge ,gateway of ,all ,nations 7in the center72 ,labor ,crowned 7on the left72 ,achievement 7on the right7 - ,william de ,leftwich ,dodge ,six panels inspired by the construction of the ,panama ,canal4 ,the first group is on the west wall1 the second on the east4 ,western ,arch1 ,court of the ,universe3 ,the ,westward ,march of ,civilization1 in two panels by - ,frank ,v4 ,du,mond ,beginning in the north panel and continued in the opposite one4 ,court of ,palms3 ,fruits and ,flowers - ,childe ,hassam ,painting in a lunette over the entrance into the ,palace of ,education4 ,the ,pursuit of ,pleasure - ,charles ,holloway ,a painting of the same shape as the preceding1 over the entrance into the ,palace of ,liberal ,arts4 ,the ,victorious ,spirit - ,arthur ,mathews ,in the lunette over the doorway into the ,court of the ,four ,seasons4 ,rotunda1 ,palace of the ,fine ,arts3 ,the ,four ,golds of ,california 7,golden ,metal1 ,wheat1 ,citrus ,fruits1 and ,poppies7 - ,robert ,reid ,in the ceiling inside the rotunda4 ,art1 born of flame1 expresses its ideals to the world through music1 poetry1 architecture1 painting1 and sculpture - ,robert ,reid ,in the same location4 ,birth of ,european ,art4 ,birth of ,oriental ,art - ,robert ,reid ,belonging to the preceding group of eight pictures by the same artist4 ,pennsylvania ,building3 ,decorative ,paintings - ,edward ,trumbull ,in the east and west walls of the center court of the building1 showing ,penn's ,treaty with the ,indians on the right and ,pennsylvania ,industries on the left4 ,biographical ,notes ,adams1 ,herbert 7,sculptor7 ,new ,york4 ,born in ,west ,concord1 ,vermont #aheh4 ,studied in ,paris4 ,figures on columns inside of ,rotunda1 ,palace of ,fine ,arts4 ,aitken1 ,robert ,i4 7,sculptor7 ,new ,york4 ,born in ,san ,francisco1 ,california1 #ahgh4 ,studied in ,mark ,hopkins ,institute1 ,san ,francisco1 and ,paris4 ,the ,four ,elements1 in ,court of the ,universe1 and ,fountain of ,earth in ,court of ,abundance4 ,bacon1 ,henry 7,architect7 ,new ,york4 ,born in ,watseka ,illinois1 #ahff4 ,studied at the ,university of ,illinois and in ,europe4 ,court of the ,four ,seasons4 ,bakewell and ,brown 7,architects74 ,john ,bakewell1 ,jr4 ,san ,francisco4 ,born in ,topeka1 ,kansas #ahgb4 ,studied at the ,beaux ,arts ,paris4 ,arthur ,brown1 ,jr4 ,san ,francisco4 ,born in ,oakland1 ,california1 #ahgd4 ,studied in the ,university of ,california and at the ,beaux ,arts in ,paris4 ,horticultural ,palace4 ,bateman1 ,john 7,sculptor7 ,new ,york4 ,born in ,cedarville ,new ,jersey #ahgg4 ,studied in the ,school of ,industrial ,art4 ,philadelphia and in ,paris4 ,caryatides outside of ,horticultural ,building4 ,bayley1 ,guy ,l4 7,electrical ,engineer7 ,san ,francisco4 ,born in ,vacaville1 ,california1 #ahge4 ,studied at ,university of ,california4 ,chief of ,electric and ,mechanical ,department4 ,beach1 ,chester 7,sculptor7 ,new ,york4 ,born in ,san ,francisco1 ,california1 #ahha4 ,studied in ,paris1 ,new ,york and ,rome4 ,groups on tower on ,court of ,abundance4 ,bennett1 ,edward 7,architect7 ,chicago4 ,preliminary ,plans of ,exposition4 ,bitter1 ,karl 7,sculptor74 ,born in ,vienna1 ,austria1 #ahfg4 ,died ,april #aj1 #aiae1 ,new ,york4 ,studied at ,vienna ,academy of ,fine ,arts4 ,chief of ,sculpture4 ,bliss and ,faville 7,architects7 ,walter ,d4 ,bliss1 ,san ,francisco4 ,born in ,nevada1 #ahfh4 ,studied in the ,massachusetts ,institute of ,technology and abroad4 ,william ,b4 ,faville1 ,san ,francisco4 ,born #ahff4 ,studied in the ,massachusetts ,institute of ,technology4 ,main ,buildings forming center unit of eight ,palaces4 ,boberg1 ,ferdinand 7,architect7 ,stockholm4 ,born in ,falun1 ,sweden1 #ahfj4 ,swedish ,building4 ,borglum1 ,solon ,h4 7,sculptor7 ,new ,york4 ,born in ,ogden1 ,utah1 #ahfh4 ,studied in ,art ,academy of ,cincinnati1 and in ,paris4 ,the ,pioneer4 ,bourgeois1 ,jean ,louis 7,architect7 ,born in ,autun1 ,france1 #ahgf4 ,died ,february #bf1 #aiae1 in ,france4 ,collaborated with ,bakewell and ,brown in ,horticultural ,building design4 ,boutier1 ,eugene ,louis 7,sculptor7 ,frieze at ,base of ,spires on ,horticultural ,building4 ,brangwyn1 ,frank 7,painter7 ,london4 ,born in ,bruges1 ,belgium1 #ahfg4 ,mural paintings of the ,four ,elements in the ,court of ,abundance4 ,bufano1 ,b4 7,sculptor7 ,new ,york4 ,medallions on the arches in ,court of the ,universe4 ,burditt1 ,thomas ,h4 7,architect7 ,san ,francisco4 ,born in ,nellore1 ,india1 #ahhf4 ,california ,state ,building4 ,burroughs1 ,mrs4 ,edith ,woodman 7,sculptor7 ,flushing1 ,long ,island4 ,born in ,riverdale-on-,hudson #ahga4 ,studied in ,art ,students ,league of few ,york and in ,paris4 ,fountain of ,youth4 ,calder1 ,a4 ,stirling 7,sculptor7 ,new ,york4 ,born in ,philadelphia #ahgj4 ,studied in ,pennsylvania ,academy of ,fine ,arts and in ,paris4 ,acting ,chief of ,sculpture4 ,fountain of ,energy2 ,the ,star in ,court of the ,universe2 ,flower ,girl in ,court of ,flowers2 ,nations of the ,east2 ,nations of the ,west1 in collaboration with ,f4 ,roth and ,leo ,lentelli4 ,carrere and ,hastings 7,architects7 ,john ,m4 ,carrere1 deceased4 ,thomas ,hastings1 ,new ,york4 ,born ,new ,york1 #ahfj4 ,studied in ,beaux ,arts1 ,paris4 ,tower of ,jewels4 ,cummings1 ,m4 ,earl 7,sculptor7 ,san ,francisco4 ,born in ,salt ,lake ,city1 ,utah1 #ahgf4 ,studied in ,san ,francisco and ,paris4 ,repeated figure in ,portal of ,vigor4 ,palace of ,food ,products4 ,denneville1 ,paul ,e4 7,architectural ,sculptor7 ,new ,york4 ,born in ,ancy ,france1 #ahgc4 ,studied ,cooper ,institute ,new ,york1 and abroad4 ,travertine finish of buildings4 ,dodge1 ,william ,de ,leftwich 7,mural ,painter7 ,new ,york4 ,born in ,liberty1 ,virginia1 #ahfg4 ,studied in ,munich and ,paris4 ,two ,murals in ,tower of ,jewels4 ,dumond1 ,frank ,v4 7,painter7 ,new ,york4 ,born in ,rochester ,new ,york1 #ahfe4 ,studied in ,paris4 ,two ,murals in arch of ,setting ,sun4 ,ellerhusen1 ,ulric ,h4 7,sculptor7 ,new ,york4 ,figures in attic of ,rotunda and repeated frieze at base of ,fine ,arts ,building4 ,farquhar1 ,robert ,david 7,architect7 ,los ,angeles4 ,born in ,brookline4 ,massachusetts1 #ahgb4 ,studied at ,harvard and at ,beaux ,arts1 ,paris4 ,festival ,hall4 ,flanagan1 ,john 7,sculptor7 ,new ,york4 ,born in ,newark1 ,new ,jersey1 #ahfe4 ,studied in ,boston1 ,new ,york and ,paris4 ,figures on ,tower of ,jewels4 ,fraser1 ,james ,earl 7,sculptor7 ,new ,york4 ,born in ,winona4 ,minnesota1 #ahgf4 ,studied in ,paris4 ,the ,end of the ,trail4 ,french1 ,daniel ,chester 7,sculptor7 ,new ,york4 ,born in ,exeter1 ,new ,hampshire1 #ahej4 ,studied in ,boston1 ,new ,york and ,florence4 ,genius of ,creation4 ,fry1 ,sherry ,e4 7,sculptor7 ,new ,york4 ,born in ,creston1 ,iowa #ahgi4 ,studied in ,art ,institute1 ,chicago1 and in ,paris4 ,figural decorations on ,festival ,hall4 ,garnett1 ,porter 7,writer7 ,berkeley4 ,born in ,san ,francisco1 ,california1 #ahga4 ,selection of inscriptions on monuments and arches4 ,gerlach4 ,gustave 7,sculptor7 ,weehawken1 ,new ,jersey4 ,tympanum panels north and south entrances ,palace of ,education4 ,gruppe1 ,carl 7,sculptor7 ,new ,york4 ,fairy figure on ,italian towers4 ,guerin1 ,jules 7,painter7 ,new ,york4 ,born in ,st4 ,louis ,missouri1 #ahff4 ,studied in ,america and abroad4 ,director of color and decoration4 ,color scheme4 ,harley1 ,charles ,r4 7,sculptor7 ,new ,york4 ,born in ,philadelphia1 ,pennsylvania1 #ahfd4 ,studied in ,pennsylvania ,academy of ,fine ,arts and in ,paris4 ,the ,triumph of the ,field and ,abundance1 on west facade of main buildings4 ,hassam1 ,childe 7,painter7 ,new ,york4 ,born in ,boston1 ,massachusetts1 #ahei4 ,studied in ,paris4 ,lunette1 ,fruits and ,flowers1 in ,court of ,palms4 ,holloway1 ,charles 7,painter74 ,lunette1 ,the ,pursuit of ,pleasure1 in ,court of ,palms4 ,hornbostel1 ,henry 7,architect7 ,new ,york4 ,born in ,brooklyn ,new ,york1 #ahfg4 ,studied in ,new ,york and ,paris4 ,pennsylvania ,state ,building4 ,howard1 ,john ,galen 7,architect7 ,berkeley4 ,born in ,chelmsford ,massachusetts1 #ahfd4 ,studied in ,boston and ,beaux ,arts1 ,paris4 ,exposition ,auditorium in the ,civic ,center in collaboration with ,frederick ,meyer and ,john ,reid1 ,jr4 ,jaegers1 ,albert 7,sculptor7 ,new ,york4 ,born in ,elberfeld1 ,germany1 #ahfg4 ,studied abroad4 ,figures of ,harvest ,rain and ,sunshine1 and ,bulls in ,court of ,four ,seasons4 ,jaegers1 ,august 7,sculptor7 ,new ,york4 ,born in ,barmen1 ,germany1 #ahgh4 ,studied in ,paris4 ,spandrels and attic figures in ,court of ,four ,seasons4 ,kelham1 ,george ,w4 7,architect7 ,san ,francisco4 ,born in ,manchester1 ,massachusetts1 #ahga4 ,studied at ,harvard4 ,director of ,architecture4 ,courts of ,palms and ,flowers4 ,konti1 ,isidore 7,sculptor7 ,new ,york4 ,born in ,vienna1 ,austria1 #ahfb4 ,studied in ,imperial ,academy1 ,vienna4 ,frieze at base of ,column of ,progress4 ,laessle1 ,albert 7,sculptor7 ,philadelphia4 ,born in ,philadelphia ,pennsylvania1 #ahgg4 ,studied in ,philadelphia4 ,lions in ,court of ,flowers4 ,lentelli1 ,leo 7,sculptor7 ,new ,york4 ,born in ,bologna1 ,italy1 #ahgi4 ,figures on decorative shafts in ,court of ,abundance2 ,nations of the ,east and ,nations of the ,west in collaboration with ,stirling ,calder and ,frederick ,roth4 ,longman1 ,miss ,evelyn ,beatrice 7,sculptor7 ,new ,york4 ,born in ,winchester1 ,ohio1 #ahgd4 ,studied in ,chicago and ,new ,york4 ,fountain of ,ceres4 ,lundborg1 ,florence 7,painter7 ,san ,francisco4 ,born in ,san ,francisco4 ,studied in ,san ,francisco and in ,paris4 ,mural decorations in ,tea ,room of the ,california ,building4 ,mc,kim1 ,mead and ,white 7,architects7 ,new ,york4 ,living members of the firm3 ,william ,r4 ,mead4 ,born in ,battleboro1 ,vermont #ahdf4 ,studied at ,amherst and in ,europe4 ,w4 ,symmes ,richardson4 ,w4 ,mitchell ,kendall4 ,court of the ,universe4 ,mc,laren1 ,john 7,landscape ,engineer7 ,san ,francisco4 ,born in ,scotland4 ,horticultural effects4 ,mac,neil1 ,hermon ,a4 7,sculptor7 ,new ,york4 ,born in ,everett1 ,massachusetts1 #ahff4 ,studied in ,boston and ,paris4 ,adventurous ,bowman and frieze of ,toilers on ,column of ,progress4 ,manship1 ,paul 7,sculptor7 ,new ,york4 ,groups in ,court of ,universe4 ,markwart1 ,arthur 7,engineer7 ,san ,francisco4 ,born in ,illinois1 #ahhj4 ,studied at ,university of ,california4 ,assistant ,chief of ,construction4 ,structural design of ,machinery ,palace4 ,mathews1 ,arthur ,f4 7,painter7 ,san ,francisco4 ,born in ,wisconsin1 #ahfj4 ,studied in ,paris4 ,lunette1 the ,victorious ,spirit1 in ,court of ,palms4 ,maybeck1 ,bernard ,r4 7,architect7 ,san ,francisco4 ,born in ,new ,york1 #ahfb4 ,studied in ,beaux ,arts1 ,paris4 ,palace of ,fine ,arts4 ,meyer1 ,frederick 7,architect7 ,san ,francisco4 ,born in ,san ,francisco1 ,california1 #ahge4 ,studied in ,america4 ,exposition ,auditorium in ,civic ,center in collaboration with ,john ,galen ,howard and ,john ,reid1 ,jr4 ,mullgardt1 ,louis ,christian 7,architect7 ,san ,francisco4 ,born in ,washington1 ,missouri1 #ahff4 ,studied at ,harvard4 ,court of the ,ages1 also named ,court of ,abundance4 ,nahl1 ,perham ,w4 7,painter7 ,berkeley4 ,born in ,san ,francisco1 ,california1 #ahfi4 ,studied in ,hopkins ,institute1 ,san ,francisco1 and in ,europe4 ,exposition ,poster1 ,the ,thirteenth ,labor of ,hercules4 ,newman1 ,allen ,g4 7,sculptor7 ,new ,york4 ,born in ,new ,york1 #ahge4 ,pupil of ,j4 ,q4 ,a4 ,ward4 ,conquistador and ,pirate on north facade main buildings4 ,niehaus1 ,charles ,h4 7,sculptor7 ,new ,rochelle1 ,new ,york4 ,born in ,cincinnati1 ,ohio1 #ahee4 ,studied in ,cincinnati and ,munich4 ,cortez4 ,patigian1 ,haig 7,sculptor7 ,san ,francisco4 ,born in ,armenia #ahgf4 ,studied in ,paris4 ,decorations of ,machinery ,hall4 ,piccirilli1 ,furio 7,sculptor7 ,new ,york4 ,born in ,massa1 ,italy1 #ahff4 ,pupil of ,accademia ,san ,luca1 ,rome4 ,groups of ,four ,seasons in ,court of the ,four ,seasons4 ,polk1 ,willis 7,architect7 ,san ,francisco4 ,preliminary plans of ,exposition4 ,putnam1 ,arthur 7,sculptor7 ,san ,francisco4 ,born in ,new ,orleans1 #ahgd4 ,mermaid in ,south ,gardens4 ,reid1 ,john1 ,jr4 7,architect7 ,san ,francisco4 ,born in ,san ,francisco #ahhj4 ,studied in the ,university of ,california and the ,beaux ,arts1 ,paris4 ,exposition ,auditorium in ,civic ,center in collaboration with ,john ,galen ,howard and ,frederick ,meyer4 ,reid1 ,robert 7,painter7 ,new ,york4 ,born in ,stockbridge1 ,massachusetts1 #ahfb4 ,studied in ,boston1 ,new ,york1 and ,paris4 ,decorations in ,rotunda of ,fine ,arts ,palace4 ,rosse1 ,hermann 7,designer and decorator7 ,palo ,alto4 ,born in ,the ,hague1 ,holland1 #ahhg4 ,studied at ,the ,hague1 at ,delft1 ,holland1 and ,south ,kensington1 ,london4 ,decorative color scheme and mural painting in ,netherlands ,building4 ,roth1 ,frederick ,g4 ,r4 7,sculptor7 ,englewood ,new ,jersey4 ,born in ,brooklyn1 ,new ,york1 #ahgb4 ,studied in ,vienna1 ,nations of the ,east and ,nations of the ,west in collaboration with ,stirling ,calder and ,leo ,lentelli4 ,rumsey1 ,charles ,cary 7,sculptor7 ,new ,york4 ,pizarro4 ,ryan1 ,walter4 ,d',arcy 7,electrical ,engineer7 ,san ,francisco4 ,born in ,kentville1 ,nova ,scotia1 #ahgj4 ,educated in ,canada4 ,chief of ,illumination4 ,lighting scheme4 ,simmons1 ,edward 7,mural ,painter7 ,new ,york4 ,born in ,concord1 ,massachusetts #aheb4 ,studied in ,paris4 ,murals in ,arch of the ,rising ,sun4 ,stackpole1 ,ralph ,w4 7,sculptor7 ,san ,francisco4 ,born in ,oregon1 #ahhe4 ,studied in ,paris4 ,kneeling figure in front of ,fine ,arts rotunda4 ,figures on columns flanking ,portal of ,thought and ,portal of ,vigor4 ,figures in doorway of ,palace of ,varied ,industries4 ,tonetti1 ,f4 ,m4 ,l4 7,sculptor7 ,new ,york4 ,born in ,paris1 ,france1 in #ahfc4 ,studied in ,paris4 ,armored horseman on ,tower of ,jewels4 ,trumbull1 ,edward 7,painter7 ,pittsburgh4 ,born in ,stonington1 ,connecticut1 in #ahhd4 ,mural decorations1 ,penn's ,treaty and ,pittsburgh ,industries1 in ,pennsylvania ,building4 ,ulrich1 ,louis 7,sculptor7 ,new ,york4 ,winged ,victory on gables of all palaces4 ,walter1 ,edgar 7,sculptor7 ,san ,francisco4 ,born in ,san ,francisco1 in #ahgg4 ,studied in ,paris4 ,fountain of ,beauty and the ,beast in ,court of ,flowers4 ,weinert1 ,albert 7,sculptor7 ,new ,york4 ,born in ,leipzig1 ,germany1 in #ahfc4 ,studied in ,leipzig and ,brussels4 ,spandrels in ,court of ,palms2 ,decorative finial figure1 in ,court of ,abundance repeated figure in ,portal of ,thought1 etc4 ,weinman1 ,adolph ,a4 7,sculptor7 ,new ,york4 ,born in ,karlsruhe1 ,germany in #ahgj4 ,studied in ,art ,students ,league1 ,new ,york4 ,rising and ,setting ,sun4 ,ward and ,blohme 7,architects7 ,clarence ,r4 ,ward ,san ,francisco4 ,born in ,niles ,michigan1 in #aigf4 ,studied in ,america4 ,j4 ,h4 ,blohme1 ,san ,francisco4 ,born in ,san ,francisco in #ahgh4 ,studied in ,america4 ,machinery ,palace4 ,whitney1 ,mrs4 ,harry ,payne 7,sculptor7 ,new ,york4 ,fountain of ,el ,dorado ,young1 ,mahonri 7,sculptor7 ,new ,york4 ,born in ,salt ,lake ,city ,utah1 in #ahgg4 ,studied in ,new ,york and ,paris4 ,frieze over main portals ,manufacturers and ,liberal ,arts ,palaces4 ,zimm1 ,bruno ,louis 7,sculptor7 ,new ,york4 ,frieze1 ,rotunda1 ,fine ,arts ,building4 ,the ,art of the ,exposition1 by ,eugen ,neuhaus1 published by ,paul ,elder and ,company1 ,san ,francisco1 was printed at their ,tomoye ,press1 under the direction of ,john ,swart1 in ,may and reprinted in ,june and again in ,august ,nineteen ,hundred and ,fiftee