,some ,artists at the ,fair             
,frank ,d4 ,millet                      
,will ,h4 ,low                          
,j4 ,a4 ,mitchell                       
,w4 ,hamilton ,gibson                   
,f4 ,hopkinson ,smith                   
,illustration                           
,new ,york                              
,charles ,scribner's ,sons              
#ahic                                   
,,some ,,artists ,,at ,,the ,,fair      
,illustration3 ,,the ,,court ,,of       
,,honor--,,dome ,,of ,,administration   
,,building4                             
,,some ,,artists ,,at ,,the ,,fair      
,,frank ,d4 ,,millet                    
,,will ,h4 ,,low                        
,j4 ,a4 ,,mitchell                      
,w4 ,,hamilton ,,gibson                 
,f4 ,,hopkinson ,,smith                 
,illustration                           
,,new ,,york                            
,,charles ,,scribner',s ,,sons          
#ahic                                   
,,copyright1 #ahic1 ,,by                

,,charles ,,scribner',s ,,sons          
,,trow ,,directory                      
,,printing ,,and ,,bookbinding ,,company
                                 ,,new  
,,york          ,,contents              
,,page    ,,the ,,decoration ,,of ,,the 
,,exposition      #a    ,,types ,,and   
,,people ,,at ,,the ,,fair         #dc  
,,the ,,art ,,of ,,the ,,white ,,city   
#ei    ,,foreground ,,and ,,vista ,,at  
,,the ,,fair     #ha    ,,the           
,,picturesque ,,side                #ajj
          ,,list ,,of ,,illustrations   
,,page    ,the ,court of ,honor--,dome  
of ,administration ,building1           
,frontispiece    ,riders of ,winged     
,horses1 from ,w4 ,l4 ,dodge's          
,decoration in the  ,administration     
,building1                              
#a    ,figure ,emblematic of the        
,textile ,arts1 by ,robert ,reid1 in one
 of  the ,domes of the ,manufactures    
,building1                              
#c    ,allegorical ,figure of           
8,needle-work10 by ,j4 ,alden ,weir1 in 

one of  the ,domes of the ,manufactures 
,building1                              
#g    8,forging10 ,figure by ,e4 ,e4    
,simmons1 in the ,dome of the ,east     
,portal1 ,manufactures ,building1       
#aa    8,musicians10 ,fragment from the 
,procession1 by ,w4 ,l4 ,dodge1 in  the 
,dome of the ,administration ,building1 
#ad    8,ceramic ,painting10 by ,kenyon 
,cox1 in a ,dome of the ,east  ,portal1 
,manufactures ,building1                
#ae    8,autumn10 ,panel by ,g4 ,w4     
,maynard1 in the ,agricultural          
,building1     #ah    8,pearl10 by      
,walter ,shirlaw1 in a ,dome of the     
,north ,portal1  ,manufactures          
,building1                              
#ai    8,the ,telephone10 by ,j4        
,carroll ,beckwith1 in a ,dome of the   
,north  ,portal1 ,manufactures          
,building1                              
#bc    8,decoration10 ,figure by ,c4 ,s4
 ,reinhart1                             
#bi    8,the ,armorer's ,craft10 one of 
,four ,figures by ,e4 ,h4 ,blashfield1  

,representing the ,arts of ,metal       
,working1                               
#cc    ,female ,figure from ,w4 ,l4     
,dodge's ,decoration in the             
,administration  ,building1             
#cg    ,banner ,adopted from the        
,standard of ,spain under ,ferdinand and
  ,isabella1                            
#ci    ,banner ,adopted from the        
,expeditionary ,flag of ,columbus1      
#ci    ,trying to ,get the ,better of   
the ,native1                            
#de    ,fakirs1                         
#dg    ,a ,bride and ,groom1            
#eb    ,wheeled ,about at ,seventy-five 
,cents per ,hour1                       
#ed    ,the ,question of ,finance1      
#ef    ,caf in the ,midway ,plaisance1  
#eg    ,lighting the ,natural ,gas      
,torches on the ,roof of the            
,administration  ,building1             
#fa    ,at ,night on the ,midway        
,plaisance1                             
#fd    ,indian ,girl and ,bull1         
,modelled by ,french  ,potter1          

#fe    ,german ,building1               
#ff    ,central ,portion of ,mac,monnies
 ,fountain--,effect of ,electric ,light1
   #gc    ,the ,border of the ,lagoon1  
#hd    ,a ,bit of the ,californian      
,building1                              
#hf    ,the ,californian ,building1     
#hg    ,a ,cove in ,wooded ,island1     
#hh    ,the ,edge of the ,rose ,garden1 
,wooded ,island1                        
#ia    ,japanese ,building on ,wooded   
,island1                                
#ib    ,an ,aged ,japanese ,dwarf1 ,one 
,hundred ,years ,old--,a ,corner  of the
 ,horticultural ,building1              
#ic    ,portal of the ,fisheries        
,building1                              
#ie    ,elkhorn ,fern1 a ,suggestion for
 an ,architect--,in the ,australian     
,exhibit1 ,horticultural ,hall1         
#ig    ,the ,peristyle1                 
#ajb    ,distant ,view of ,dome of the  
,horticultural ,building1               
#ajc    ,dome of ,horticultural         
,building at ,night1                    

#ajf    ,in ,old ,vienna1               
#ajg    ,mosque of the ,sultan ,selim1  
#aaa    8,far-away ,moses10             
#aad    ,doorway of the ,transportation 
,building1                              
#aaf    ,in ,cairo ,street1             
#aai          ,illustration3 ,,riders   
,,of ,,winged ,,horses1 ,,from ,w4 ,l4  
,,dodge',s ,,decoration ,,in  ,,the     
,,administration ,,building4            
,,the ,,decoration ,,of ,,the           
,,exposition    ,by ,f4 ,d4 ,millet     
,the grand style1 the perfect           
proportions1 and the magnificent        
dimensions  of the buildings of the     
,world's ,columbian ,exposition1 excite 
a twofold  sentiment in the mind of the 
visitor--wonder and admiration at the   
beauties of the edifices1 and regret and
 disappointment that they are  not to   
remain as monuments to the good taste1  
knowledge1 and skill of  the men who    
built them1 and as a permanent memorial 
of the event which  the ,exposition is  
intended to celebrate4 ,this complex    

feeling is a  natural one1 and is       
perfectly comprehensible in the presence
 of the  noble porticos and colonnades1 
the graceful towers1 superb domes1 and  
imposing faades4 ,previous exhibitions1 
with the possible exception of  that in 
,vienna in #ahgc1 have been confessedly 
ephemeral in the character  of their    
construction1 and have shown a          
distinctly playful and festal  style of 
architecture1 with little attempt at    
seriousness or dignity of  design4 ,the 
monumental character of the group of    
,exposition buildings in  ,chicago is   
not the result of accident1 but of      
deliberate forethought and  wise        
judgment4    ,in the heat of the fever  
of construction1 which has spread like a
  contagion from the rocks of ,mount    
,desert to the white sands of the       
,pacific coast1 a new race of architects
 has sprung up1 fertile in  resources   
and clever in execution1 but with little
 well-grounded  knowledge of the real   
principles of their art4 ,beginning with

 the  bulbous conglomerations of        
material which have been forced upon a  
long-suffering public by the ,government
 architects1 and ending with            
consciously picturesque structures that 
hint more of the terrors of  medival    
dungeons than of the comforts of        
domestic life1 and bear the  title of   
villa but the aspect of military        
strongholds1 the architecture  of the   
past two decades has1 with some         
,illustration3 ,,figure ,,emblematic    
,,of ,,the ,,textile ,,arts1 ,,by       
,,robert ,,reid1 ,,in  ,,one ,,of ,,the 
,,domes ,,of ,,the ,,manufactures       
,,building4    notable exceptions1 been 
distinguished by increasing ingenuity in
  imitation rather than the development 
of skill in adaptation4 ,it would  be   
worse than foolish to demand that an    
architect should be thoroughly          
original1 as it would be to ask an      
artist to cut loose from all the  proven
 principles and traditions of his       
profession1 and invent an  entirely new 

method and a novel system4 ,what may be 
reasonably asked of  an architect is    
that he have an individual point of     
view1 and modernize  the adaptation of  
old principles without disturbing the   
real spirit of  the same2 that he       
develop and extend these principles to  
meet the  requirements of modern life2  
that1 in fact1 he work as nearly as     
possible in the same direction that the 
masters of ancient architecture  would  
have done if they had been dealing with 
modern problems of design1  plan1 and   
construction4 ,there are certain        
immutable laws of harmony and           
proportion which have always governed   
and will always rule in  architecture as
 in art1 and though they are disregarded
 and tampered  with for the sake of     
novelty and so-called originality1 this 
faithlessness always meets its just     
punishment in the result4 ,the  majority
 of modern architects have1 in these    
days of abundant  photographs1 models1  
and measurements1 been led to cater to  

the vanity  of half-educated clients1   
and have engrafted ,french chteaux on   
,romanesque palaces1 have invented      
wonderfully ingenious but viciously     
hybrid combinations1 one of which has   
been aptly described as 8,queen  ,anne  
in front and ,mary ,ann in the back40   
,the precept and example of the         
scholarly men in the profession have    
been powerless to stem this tide of     
ill-considered design1 and nothing short
 of gradual regeneration and  slow      
revulsion of sentiment against this     
tendency has been hoped for  until the  
present year4    ,mr4 ,d4 ,h4 ,burnham1 
the ,director of ,works of the ,world's 
,columbian  ,exposition1 took the first 
important step toward the renaissance of
 the  true spirit of architecture in    
this country by ignoring all precedents 
of competition1 and selecting as        
associates certain architects and firms 
whose records established their position
 as true leaders of the  profession4    
,these architects1 after studious       

contemplation of the  situation1 decided
 on the adoption of a general classical 
style for the  buildings1 subject1 of   
course1 to such modifications as were   
found  necessary by the requirements of 
each individual case4 ,the result is a  
satisfactory and sufficient proof of the
 wisdom of ,mr4 ,burnham's action1  and 
there is now before the country a more  
extensive and instructive  object-lesson
 in architecture than has ever been     
presented to any  generation in any     
country since the most flourishing      
period of  architectural effort4 ,the   
educational importance of this feature  
of the  great ,exposition can scarcely  
be over-estimated1    ,illustration3    
,,allegorical ,,figure ,,of             
8,,needle-,,work10 ,,by ,j4 ,,alden     
,,weir1 ,,in  ,,one ,,of ,,the ,,domes  
,,of ,,the ,,manufactures ,,building4   
and its salutary influence on the future
 architecture of this country  can be   
prophesied with absolute certainty4 ,the
 scheme has not been  considered        

complete1 however1 nor the lesson       
properly emphasized1  without the       
necessary adjuncts of the two arts so   
closely allied to  architecture1        
sculpture and painting1 both of which   
have been drawn upon  with freedom and  
good judgment to supplement and enrich  
the  architectural features4 ,sculpture 
has been employed far more extensively  
than its sister art1 for the very good  
reason that few of the buildings  have  
been constructed with any intention of  
carrying the interiors to  any high     
degree of finish4 ,it would have been   
impracticable1 under the  circumstances1
 to bring the interiors up to the same  
perfection as the  exteriors1 even with 
the cheapest material1 for it would have
 added an  enormous per cent to the cost
 of construction4 ,the architects have1 
therefore1 in most cases frankly        
accepted the situation and confined     
their efforts at embellishment to the   
faades1 considering the buildings       
simply as great sketches of possible    

permanent structures1 confessedly       
utilitarian as to the interior1 but as  
sumptuous and suggestive in  exterior   
treatment as the conditions permitted4  
,indeed1 this was the  only reasonable  
view to take1 both because of the       
enormous size of the  buildings and the 
complex uses for which they are         
intended4 ,the exhibits  themselves are 
necessarily such prominent features of  
the interiors  that they only need a    
background of more or less simple       
character to  complete1 with the        
elaborate installation which is being   
carried on1  quite as agreeable a       
decoration scheme as might be reasonably
 expected  on such an enormous scale4   
,without going into details of          
construction1 it is proper to call      
attention to one feature of the         
interiors1 notably of the ,machinery and
  ,manufactures and ,liberal ,arts      
buildings1 where the architect and the  
engineer have joined forces and produced
 a result far ahead of anything  before 

accomplished4 ,i refer to the           
wonderfully beautiful iron-work of      
these buildings1 which satisfies to an  
eminent degree both the  utilitarian and
 sthetic requirements4 ,mr4 ,c4 ,b4     
,atwood1 ,designer in  ,chief1          
co-operated with ,mr4 ,e4 ,c4           
,shankland1 ,chief ,engineer1 in working
  out a plan of construction of the     
immense trusses with the connecting     
girders1 purlins1 and braces1 which has 
been carried out in great  perfection4  
,the ugly forms of ordinary             
bridge-builders' construction1  which   
have hitherto been endured as necessary 
for rigidity and strength1  have been   
largely eliminated1 and graceful curves1
 well-balanced  proportions1 and        
harmonious lines unite to make the      
iron-work1 beautiful  in itself1 a      
distinctly ornamental feature of the    
interiors4 ,thus1  without flourish of  
trumpets1 a great advance has been made1
 and the  great truth promulgated       
,illustration3 8,,forging10 ,,figure    

,,by ,e4 ,e4 ,,simmons1 ,,in ,,the      
,,dome ,,of ,,the  ,,east ,,portal1     
,,manufactures ,,building4    that the  
useful may be beautiful even in         
engineering4 ,painting of an  artistic  
character has been confined for the most
 part to a few domes  and panels in     
various pavilions1 to wall spaces under 
colonnades and  porticos1 and to the two
 or three interiors in which there is   
sufficiently high finish to permit of   
mural decoration4    ,the               
,administration ,building1 by ,mr4      
,richard ,m4 ,hunt1 which was built for 
the uses of the ,world's ,columbian     
,commission with the numerous branches  
of its executive force1 is the real     
focus of the group of buildings1 not    
only from its position in the centre of 
a grand plaza of enormous  extent1 but  
on account of its monumental character4 
,the portals and the  angles of this    
building are adorned with groups of     
sculpture by ,mr4 ,carl  ,bitter1 of    
,new ,york1 and spandrels and panels1   

both outside and inside1  are enriched  
by designs by the same sculptor4 ,the   
dome1 which is two  hundred and         
sixty-five feet high1 is truncated at   
the top and is lighted  by a great eye  
forty feet in diameter4 ,the interior of
 this dome around  the great eye1 a     
surface of the approximate dimensions of
 #ce x #cjj feet1  is to be covered with
 a figure composition painted by ,mr4   
,w4 ,l4 ,dodge1  representing in general
 terms the figure of a god on a high    
,olympian  throne crowning with wreaths 
of laurel the representatives of the    
arts  and sciences1 and flanked by      
figures of ,agriculture1 ,commerce1     
,illustration3 8,,musicians10 ,,fragment
 ,,from ,,the ,,procession1 ,,by ,w4 ,l4
  ,,dodge1 ,,in ,,the ,,dome ,,of ,,the 
,,administration ,,building4    and     
,peace4 ,a ,greek canopy1 supported by  
flying female figures1 contrasts        
agreeably with the clear blue of the sky
 background1 against which the          
principal groups are shown in strong    

relief4 ,three winged horses drawing  a 
vehicle with a model of the ,parthenon1 
troops of warriors cheering the  victors
 in the peaceful strife of the arts1 and
 a wealth of minor  figures1 make up the
 composition1 which is bold and imposing
 not only in  magnitude but in line4    
,the interior walls of the great        
,rotunda are  tinted so as to give the  
effects of colored marbles and mosaics  
and  under the outside the massive white
 ,doric columns have a background of    
,pompeian richness    ,illustration3    
8,,ceramic ,,painting10 ,,by ,,kenyon   
,,cox1 ,,in ,a ,,dome ,,of ,,the ,,east 
,,portal1 ,,manufactures ,,building4    
7,from an unfinished sketch47    of     
tone4 ,with the exception of ,mr4       
,dodge's composition in the             
,administration ,building1 neither of   
the other buildings fronting on the     
grand plaza has any purely artistic     
decoration1 although the hemicycle  and 
portions of the ,electricity ,building1 
and the extensive arcades of  the       

,machinery ,building1 are all treated   
with flat colors to supplement  this    
architectural ornament1 the former by   
,mr4 ,maitland ,armstrong1 the  latter  
by ,mr4 ,e4 ,e4 ,garnsey1 of ,f4 ,j4    
,sarmiento  ,co4 ,across the south      
canal1 however1 a blaze of richly       
colored panels in the pavilions of the  
,agricultural ,building1 with here and  
there a figure of an animal half  hidden
 by the superb ,corinthian columns1     
shows where ,mr4 ,g4 ,w4 ,maynard  and  
his assistant1 ,mr4 ,h4 ,t4             
,schladermundt1 have converted1 by the  
magic  of their art1 the uninteresting  
plaster surfaces into a series of       
elaborate pictures4 ,this decoration has
 been planned with great  attention to  
the appropriate character of its        
individual features4 ,there  are two    
pavilions at either end of the building1
 with a large doorway  breaking the wall
 into two panels1 each one of which has 
a dado of  elaborate ornament1 a narrow 
border of conventionalized ,indian corn 

on  each side1 and great garlands of    
fruit on top framing an oblong          
rectangle of rich ,pompeian red with a  
colossal female figure of one of  the   
seasons4 ,above the two panels1 and     
connecting them by a band of  color1 is 
,illustration3 8,,autumn10 ,,panel ,,by 
,g4 ,w4 ,,maynard1 ,,in ,,the           
,,agricultural  ,,building4    a frieze 
with rearing horses1 bulls1 oxen drawing
 a cart of ancient  form1 and other     
small groups of agricultural subjects4  
,the focus of the  decorative scheme is 
naturally at the main portico1 the      
entrance to the  ,rotunda1 called the   
,temple of ,ceres1 with the statue of   
the goddess in  the mysterious twilight 
of the graceful and impressive interior4
 ,the  portico is treated on much the   
same plan as the side pavilions1 but as 
it provides a much greater area of wall 
surface1 ,mr4 ,maynard has been  able to
 introduce a richer combination of      
colors and a greater variety  of        
figures4 8,abundance0 and 8,fertility10 

two colossal    ,illustration3          
8,,pearl10 ,,by ,,walter ,,shirlaw1 ,,in
 ,a ,,dome ,,of ,,the ,,north  ,,portal1
 ,,manufactures ,,building4    female   
figures1 occupy1 with the richly        
ornamented borders1 great flat  niches  
on either side of the entrance1 and are 
flanked in turn on the  side-walls by   
the figure of ,king ,triptolemus1 the   
fabled inventor of the  plough1 and the 
goddess ,cybele1 symbolical of the      
fertility of the  earth1 the one in a   
chariot drawn by dragons1 the other     
leading a pair  of lions4 ,these        
figures1 as well as those in the four   
porticos1 are  treated in a broad1      
simple manner1 so that they carry       
perfectly to a  great distance and at   
the same time lose nothing by close     
inspection4    ,the sumptuousness of the
 color decoration is balanced by the    
lavish  abundance of sculpture work     
which fills the pediments and crowns the
  piers and pylons1 and1 in general     
terms1 the main features of the  faades4

 ,the main pediment is by ,mr4 ,larkin  
,g4 ,mead2 and the other                
statues--figures of abundance with      
cornucopi1 a series of graceful  maidens
 holding signs of the ,zodiac1 groups of
 four females representing  the quarters
 of the globe supporting a horoscope1   
and various colossal  agricultural      
animals--are all by the hand of ,mr4    
,philip ,martiny1 who  joins ,mr4 ,olin 
,l4 ,warner in supplementing the        
architectural  ornamentation of the ,art
 ,building with various figures and     
bas-reliefs4  ,dominating the grand     
outlines of the edifice1 perched high on
 the flat  dome1 is the gilded figure of
 ,diana1 by ,mr4 ,augustus ,st4         
,gaudens1  familiar as the finial of the
 tower of the ,madison ,square ,garden  
in ,new  ,york1 a fitting apex of the   
monumental structure4    ,the north     
front of the ,agricultural ,building1   
with the ,peristyle and the  south faade
 of the ,manufactures and ,liberal ,arts
 ,building1 form a grand  court of      

honor1 so to speak1 facing the          
,administration ,building1 which  may be
 appropriately termed the ,gateway of   
the ,exhibition1 for it rises  directly 
in front of the ,terminal ,station1 a   
building of vast  proportions and noble 
aspect1 designed to accommodate the     
thousands of  visitors who reach the    
,fair by the numerous lines of railways 
concentrated at this point4 ,six rostral
 columns1 surmounted by a figure  of    
,neptune1 by ,mr4 ,johannes ,gelert1    
accent this court at different  points4 
,mr4 ,frederick ,mac,monnies's          
fin-de-sicle colossal fountain  fills   
the west end of the basin with a busy   
group of symbolical figures  and a flood
 of rushing water4 ,opposite1 at the    
east end of the  glittering sheet of    
water which reflects the architectural  
glories of  the colonnades1 the         
dignified1 simple statue of the         
,republic1 by ,mr4 ,d4  ,c4 ,french1    
towers high in air1 relieved against the
 beautiful screen of  the ,peristyle1   

with its forest of columns showing clear
 cut against the  blue waters of the    
lake4 ,every column and every pier of   
the ,peristyle  has its crowning figure1
 the work of ,mr4 ,theodore ,baur1 and  
the great  central arch1 or ,water-,gate
 supports a colossal ,quadriga executed 
,illustration3 8,,the ,,telephone10 ,,by
 ,j4 ,,carroll ,,beckwith1 ,,in ,a      
,,dome ,,of ,,the  ,,north ,,portal1    
,,manufactures ,,building4    by ,mr4   
,d4 ,c4 ,french and ,mr4 ,edward ,c4    
,potter1 the former undertaking the     
figure work1 and the latter the horses4 
,two pair of horses1 led by  classical  
female figures1 draw a high chariot with
 a male figure  symbolizing the spirit  
of discovery of the fifteenth century1  
and pages  on horseback flank the       
chariot on either side1 enriching the   
composition  so that it presents a      
well-sustained mass from every possible 
point of  view4 ,this group is an       
achievement well worthy of its situation
 as the  dominating embellishment of the

 great court with its wealth of         
sculpture  and ornament4    ,the        
terraces afford another inviting field  
for open-air decoration4  ,numerous     
pedestals have tempted the skill of the 
sculptors of the  ,quadriga to produce  
distinguished types of the horse and the
 bull1 and  formal antique vases on the 
balustrade and reproductions of the     
masterpieces of ancient statuary break  
the long lines of parapet and           
greensward4 ,the graceful bridges       
spanning the canals are guarded by      
sculptured wild animals native of the   
,united ,states1 part of them by ,mr4   
,edward ,kemeys1 others by ,mr4 ,a4 ,p4 
,proctor1 in appropriate contrast to    
the classicality of their surroundings  
and suggesting future  possibilities in 
sculpture inspired by similar motives4  
,the eye cannot  take in at a glance the
 sumptuous beauties of this grand court1
 even in  its ragged state of partial   
finish1 but roves from statue to column1
  portal to terrace1 resting agreeably  

on broad masses of rich color and  on   
the gleaming reflections in the basin4  
,imagination can scarcely  picture the  
scene with the addition of the festal   
features of fluttering  banners1 rich   
awnings1 gayly decorated craft giving   
life and movement to  the water front1  
and everywhere the crowd of visitors all
 on recreation  bent4    ,the casual    
observer might well be pardoned for     
failing at first to mark  how the grand 
pavilions and porticos of the           
,manufactures and ,liberal  ,arts       
,building are accented by frequent      
spaces covered with artistic            
decoration4 ,in each of the four corner 
pavilions there are two tympana1  those 
on the south side having been given to  
,mr4 ,gari ,melchers and ,mr4  ,walter  
,mac,ewen to fill with a decorative     
design4 ,both these artists have  made  
elaborate compositions representing1 in 
general terms1 8,music0 and             
8,manufactures0 and 8,the ,arts of      
,peace10 and 8,the ,chase and the       

,manufacture of ,weapons10 respectively4
    ,in the foreground of 8,music10 at  
the left1 a group of ,satyrs pipes to a 
dancing cluster around the ,muse        
,euterpe1 and with various other        
personages make up a composition of     
great distinction of live and  skilful  
arrangement4 ,the second panel1 which   
illustrates manufactures or  textiles1  
is equally rich in groups1 and in the   
background of both  compositions is     
continued a procession in the honor of  
,pallas ,athena1  who was credited by   
the ,greeks with the invention of       
spinning4 ,the  general color gamut is  
light with an intricate harmony of      
delicate  tones4 ,the procession is     
silhouetted in bluish tones against a   
warm sky  with the colors of early      
evening1 the golden reflections touching
 the  figures with beautiful lines of   
light4 ,mr4 ,melchers has followed out  
much the same general plan of color in a
 varied but well-sustained  composition1
 so that the four tympana make1 in a    

sense1 a series of  harmonious pictures4
    ,the four grand central portals of  
the ,manufactures and ,liberal ,arts    
,building recall triumphant arches of   
,roman times4 ,each of these portals    
has a lofty central entrance with rich  
bas-reliefs by ,mr4 ,bitter and  smaller
 side arches under pendentive domes4    
,these eight domes have been  filled    
with figure decorations1 each by a      
different artist4 ,those on the  south  
front of the building have been painted 
by ,mr4 ,j4 ,alden ,weir and  ,mr4      
,robert ,reid1 who1 with distinctly     
individual compositions1 have           
harmonized their designs in a remarkably
 agreeable and skilful manner4  ,mr4    
,weir has chosen allegorical female     
figures of 8,decorative ,art10 8,the    
,art of ,painting10 8,goldsmith's ,art10
 and the 8,art of ,pottery40 ,each of   
these figures is seated on a balustrade 
and is relieved against a sky of  pale  
broken blue tones4 ,flying draperies and
 capitals of four orders of             

architecture serve to connect the lines 
of the composition1 which is  further   
enriched by a cupid holding a tablet    
inscribed with the  different arts and  
decorated with a wreath4 ,the figures   
are large and  simple in line1 and the  
general scheme of color is pale blue    
varied with  purple and green1 a        
combination suggested by the evanescent 
hues of ,lake  ,michigan4 ,mr4 ,reid has
 also selected seated allegorical       
figures to carry  out his ideas1 with   
the addition of four youths1 one on the 
keystone of  each arch1 holding high    
above their heads wreaths and palm      
branches  which meet and cross so as to 
form a band of decorative forms around  
the  upper part of the dome4 ,a         
semi-nude figure of a man with an anvil 
and  wrought-iron shield represents     
8,ironworking20 a young girl in white   
resting one arm on a pedestal and the   
hand of the other arm touching a  piece 
of carved stone1 signifies 8,ornament20 
another in purple1  finishing a drawing 

of a scroll1 suggests the principle of  
8,design10 as  applied to mechanical    
arts1 and the fourth figure is readily  
interpreted  as honoring the 8,textile  
,arts40 ,in the east portal ,mr4 ,e4 ,e4
 ,simmons has  placed a single figure of
 a man in each pendentive of the dome1  
symbolizing 8,wood ,carving10 8,stone   
,cutting10 8,forging10 and 8,mechanical 
,appliances40 ,the general scheme is    
pale gray and flesh-colored tones       
relieved and accentuated by the forms of
 the tools and accessories  appropriate 
to each figure4 ,the    ,illustration3  
8,,decoration10 ,,figure ,,by ,c4 ,s4   
,,reinhart4    composition is bold in   
line1 firm in outline1 and original in  
conception4 ,mr4 ,kenyon ,cox in the    
adjacent dome has worked so far in      
harmony with ,mr4 ,simmons that he has  
decorated the pendentives rather  than  
the upper part of the vault1 placing a  
standing female figure in  each against 
a balustrade and foliage4 ,above the    
heads1 graceful  banderoles1 bearing the

 subjects illustrated1 convert each     
pendentive  into a shield-shaped space4 
,a robust woman in buff jacket testing a
  sword1 suggests 8,steel ,working40 ,a 
graceful girl in blue and white  drapery
 holding a rare vase needs no title to  
show that she represents  8,ceramic     
,painting40 8,building0 is symbolized by
 a tall and shapely  damsel in golden   
green robes1 standing near an           
uncompleted wall1 and  8,spinning0 by a 
stately maiden of fair complexion       
dressed in  rose-colored stuffs1 with   
the significant accessory of a          
spider-web4 ,in  the north portal ,mr4  
,j4 ,carroll ,beckwith has illustrated  
the subject of  ,electricity as applied 
to ,commerce4 ,four female figures      
occupy the  pendentives4 ,the           
8,telephone0 and the 8,indicator0 are   
personified by a  woman standing holding
 a telephone to her ear and surrounded  
by tape  issuing from the ticker2 8,the 
,arc ,light0 by a figure kneeling       
holding  aloft an arc light2 8,the      

,morse ,telegraph0 by a woman in flying 
draperies  seated at a table upon which 
is the operating machine1 while she     
reads  from a book2 and 8,the ,dynamo0  
by a woman of a type of the             
working-class  seated upon the magnet   
with a revolving wheel and belt at her  
feet4  ,above1 in the upper dome1 is    
placed the 8,spirit of ,electricity10 a 
figure of a boy at the top of the dome  
from which radiate rays of  lightning1  
to which he points4 ,mr4 ,walter        
,shirlaw1 who has decorated the         
neighboring dome1 shows distinct        
originality of conception in his four   
allegorical figures1 8,gold10 8,silver10
 8,pearl10 and 8,coral10 symbolizing    
the abundance of the land and the sea4  
,the maiden representing 8,gold0  steps 
forward freely1 her mantle of yellow    
falling as she advances4 ,a  silver-gray
 cloak1 fastened with silver disks1     
distinguishes the figure  of 8,silver40 
8,pearl0 stands erect with glistening   
pearls around her neck  and on her      

garments4 8,coral10 with raised arms1   
places a coral ornament  in her hair4 ,a
 spider's web in decorative pattern     
connects the figures  and occupies the  
central surface of the dome4 ,white1    
green1 and gold1  treated in monotones1 
form the color plan4    ,the figure on  
page #bi is taken from a sketch of one  
of ,mr4 ,c4 ,s4  ,reinhart's figures in 
the south dome of the ,west ,portal1 and
 was  materially changed in the         
enlargement1 and improved in action and 
accessories4 ,the effort of the artist  
has been to bring all the separate      
tones into harmony with each other1     
making the design and color  appropriate
    ,illustration3 8,,the ,,armorer',s  
,,craft10 ,,one ,,of ,,four ,,figures   
,,by ,e4 ,h4  ,,blashfield1             
,,representing ,,the ,,arts ,,of ,,metal
 ,,working4    to the purposes of the   
building1 the architecture1 and the     
construction  of the pendentive dome    
itself4 ,a white-marble terrace         
describes a  complete circle just above 

the four arches of the dome1 the railing
 of  which is a repetition of the actual
 one which finishes the top of the      
walls of the building itself2 above a   
vibrating blue sky1 with touches  of    
salmon pink2 in the pendentives four    
seated female figures1  representing the
 ,arts of ,sculpture1 ,decoration1      
,embroidery1 and ,design4  ,between the 
figures and above the arches are urns   
with cactus1 from  which vines and      
flowers are trailing1 thus uniting the  
composition4 ,the  treatment is         
mural--broad1 flat tones within the     
severe contours4 ,above1  in the sky1   
faint in color and harmonizing with the 
sky itself1 four  cherubs are having a  
merry-go-round with pale ribbons4       
,the pendentives of the adjacent dome1  
painted by ,mr4 ,e4 ,h4 ,blashfield1    
are filled by four winged genii1        
representing the 8,arts of ,metal       
,working40 ,the 8,armorer's ,craft0 is  
personified by a helmeted figure2 the   
8,brass ,founder0 and 8,iron ,worker0 by

 two half-nude youths1 one holding  an  
embossed trencher1 the other a hammer1  
while a maiden1 in the closely  clinging
 gown of the fifteenth century1 with a  
statuette in her hand1  symbolizes the  
8,art of the ,goldsmith40 ,the extreme  
points of the  pendentives are filled by
 appropriate attributes1 a pair of      
gauntlets1  brass workers' tools1 a     
horse-shoe1 and a medal4 ,behind the    
figures1 and  a little above their      
heads1 is a frieze of ,renaissance      
scroll work1 and  the whole composition 
is bound together by flying banderoles  
and by the  sweep of the widely extended
 wings4 ,the centre of the dome is      
occupied  by two winged infants         
supporting a shield4 ,the general color 
scheme  comprises a series of peacock   
blues1 greens1 and purples1 brilliant   
white tones in wings and frieze1 and    
pale blue of the sky as a  background to
 the composition4    ,the sculpture     
groups on the roof of the ,woman's      
,building1 and the  elaborate pediments 

executed by ,miss ,alice ,rideout1 with 
the ,caryatides1  by ,miss ,enid        
,yandell1 were early finished and in    
place4 ,the same is true  of ,lorado    
,taft's graceful groups and friezes     
which adorn the  ,horticultural         
,building1 and of ,mr4 ,john ,j4        
,boyle's realistic and  expressive      
embodiments of ideas suggested by the   
fertile theme of  ,transportation1 and  
ranged in almost bewildering profusion  
around the  building which bears that   
name4 ,the regiment of statues on the   
,machinery  ,building1 by ,mr4 ,m4 ,a4  
,waagen and ,mr4 ,robert ,kraus1 those  
on the  ,electricity ,building1 by ,mr4 
,j4 ,a4 ,blankingship and ,mr4 ,henry   
,a4  ,mac,neil1 the statue of ,franklin1
 by ,mr4 ,carl ,rohl-,smith1 together   
with  scores of other works of more or  
less importance1 would1 if listed1 make 
a long catalogue of    ,illustration3   
,,female ,,figure ,,from ,w4 ,l4        
,,dodge',s ,,decoration ,,in ,,the      
,,administration ,,building4            

interesting objects of the sculptor's   
art4 ,the immense numbers of these      
works1 proportionate1 of course1 to the 
colossal magnitude of the  ,exposition1 
forbid even the bare mention of them in 
detail4 ,in addition  to this great mass
 of sculpture work executed for the     
special purpose of  supplementing the   
architecture1 it is intended to place at
 different  places1 notably in the      
,grand ,court and on the grounds1 and in
 the  colonnades of the ,art ,building1 
selected examples of ancient sculpture1 
various reproductions of antique        
monuments4    ,an essential part of the 
decoration of the building is1 of       
course1 the  architectural details1 the 
models of which have been executed by   
various  parties1 notably ,ellin        
,kitson1 of ,new ,york1 and ,evans1 of  
,boston1 with  distinguished taste and  
skill4 ,the capitals1 mouldings1 and    
ornaments of  ,greek and ,roman         
buildings have been accurately copied on
 a scale and in  a manner never before  

attempted4 ,a few short months ago there
 was in  this country but a very limited
 number of full-sized reproductions of  
any of the notable details of ancient   
architecture4 ,the cast of the  great   
,jupiter ,stator capital was1 it is     
said1 found in but a single  architect's
 office4 ,now the whole range of        
details1 from the beautiful  ,ionic     
capitals of the ,temple of ,minerva     
,polias to the mouldings of the  ,arch  
of ,titus1 are practically at the       
command of any architect and  student4  
,much has been said and much written    
about the proper color to be given  to  
the exteriors of the great edifices4    
,experience shows1 even if reason  had  
not already dictated the decision1 that 
the nearer they are kept to  white the  
better for the architecture4 ,every     
experiment which has been  made to      
produce    ,illustration3               
,,banner ,,adopted ,,from ,,the         
,,standard ,,of ,,spain ,,under         
,,ferdinand ,,and       ,,isabella4     

,illustration3         ,,banner         
,,adopted ,,from ,,the ,,expeditionary  
,,flag ,,of ,,columbus4      sthetic    
effects of texture suggested by the     
usual treatment of plaster  objects has 
resulted in partial or in total failure1
 and every time the  warm white of the  
staff has been meddled with1 its glory  
has departed4  ,but the conditions      
imposed by the climate1 by the          
impossibility of  securing a homogeneous
 surface1 and by the exposure and       
consequent  discoloration of a certain  
portion of the work1 have made it       
necessary  to apply some sort of paint  
to all the buildings4 ,ordinary         
white-lead  and oil have been found to  
give the best results1 for the irregular
  absorption of the staff and the       
weathering rapidly produce an agreeable1
  not too montonous an effect1 and the  
surface deteriorates less rapidly  after
 this treatment4 ,the single notable    
exception to this simple scale  of color
 is found on the ,transportation        

,building1 which was given to  ,healy   
and ,millet1 of ,chicago1 to cover with 
a polychromatic decoration1  carrying   
out the original intention of the       
architects1 and making it  unique and   
splendid in appearance4 ,all the        
statuary of this building was  treated  
with bronze and other metals1 the great 
portal1 commonly called  the 8,golden   
,door10 was exceedingly rich and        
gorgeous in effect1 and the  intricate  
ornamentation of the architectural      
relief decoration had an  echo in the   
flat surfaces covered with rich designs4
    ,the decoration of the ,exposition  
would be incomplete without careful     
attention to the informal and festive   
features1 such as flags and  awnings4   
,every building presented new           
conditions1 and demanded special  study 
and design4 ,a large proportion of the  
flag-staffs carried  gonfalons or       
banners1 but a certain number were      
reserved1 naturally1 for  the ,united   
,states flag and the flags of all       

nations4 ,at various points  large poles
 were planted in the ground1 most of    
them for the purpose of  displaying the 
,stars and ,stripes1 and a group of     
three poles1 with  ornate bases1        
elaborate flutings1 and proper finials  
were placed in  front of the            
,administration ,building4 ,the middle  
pole to carry a ,united  ,states flag of
 large dimensions1 and flanked on either
 side by a large  and sumptuous banner1 
one adapted from the expeditionary      
banner of  ,columbus1 the other from the
 standard of ,spain at the time of the  
discovery of ,america4                  
,illustration ,,types ,,and ,,people    
,,at ,,the ,,fair    ,by ,j4 ,a4        
,mitchell      ,it is no reflection on  
the ,columbian show to confess that     
perhaps the  pleasantest moments are    
those spent in resting one's rebellious 
limbs  upon a bench and in watching the 
crowd4 ,it may be less novel and        
possibly less instructive than some     
other exhibits1 but it is often more    

amusing4 ,one realizes in studying this 
infinite stream of humanity how  little 
he really knows1 personally1 of his own 
countrymen4 ,new types  seem to have    
sprung into existence for the sole      
purpose of appearing at  this fair4 ,it 
gives one a startling realization of the
 varying effects  of climate1 food1 and 
mode of life upon our brothers and      
sisters4 ,voice1  manner1 color1 size1  
shape1 and mental fittings are so widely
 different  as to surest varieties in   
race4 ,but we are all ,americans1 and   
those from  the interior are more       
,american than the others4    ,if the   
native ,indian were of a reflective turn
 of mind1 all this might  awaken        
unpleasant thoughts4 ,judging from      
outside appearance1 however1 he  has no 
thoughts whatever4 ,he stalks solemnly  
about the grounds with a  face as       
impassive as his wooden counterparts on 
,sixth ,avenue4 ,and yet  he is the     
,american4 ,he is the only one among us 
who had ancestors to  be discovered4 ,he

 is the aboriginal2 the first occupant  
and owner2 the  only one here with an   
hereditary right to the country we are  
celebrating4 ,perhaps the native        
realizes this in his own stolid fashion4
  ,as he stalks about among the dazzling
 structures of the ,fair1 and tries1  or
 more likely1 does not try1 to grasp the
 innumerable wonders of art  and science
 that only annoy and confuse him1 it may
 require a too  exhausting mental effort
 to recall the fact that his own        
grandfather  very likely pursued the    
bounding buffalo over the waste of      
prairie now  covered by the city of     
,chicago4 ,he1 at least1 if his         
education permitted  it1 could claim    
historic connection with the country    
when ,columbus came  so near discovering
 it2 whereas our own connection with the
 discoverer  is certainly remote1 and   
sometimes suggests 7with the fact that  
he from  whom we have named the ,fair   
never actually saw this particular      
country7  that we are taking liberties  

with his name4    ,illustration3        
,,trying ,,to ,,get ,,the ,,better ,,of 
,,the ,,native4    ,the unconquerable   
,american desire to do things on a      
bigger scale than  anybody else1 which  
often results in our 8biting off more   
than we can  chew10 has again run away  
with us4 ,there are many illustrations  
of this  gnawing hunger at the ,world's 
,fair4 ,in fact the ,fair itself1 as a  
whole1  comes painfully near being an   
illustration in point4 ,a colossal      
enterprise too vast and complex to      
permit of its attaining a perfect       
finish in the time allowed1 seems to    
give more joy to our occidental  spirits
 than any possible perfection on a      
smaller scale4 ,crudity has  little     
terror for us4 ,the whole scheme is so  
vast and comprehensive1 and  the scale  
so hopelessly magnificent1 that the     
visitor finds he has  neither the       
spirit1 spine1 nor legs to even         
partially take it in4 ,in  fact the     
farther he goes the more he realizes the

 futility of the  undertaking4 ,and the 
hapless enthusiast who proposes to see1 
even  superficially1 the more important 
exhibits1 should be fitted with a       
wrought-iron spine1 nerves of catgut1   
and one more summer4 ,in all the        
departments1 from the fine arts to      
canned tomatoes1 there is more than     
enough in numbers and in area to wear   
out the energy and paralyze the  brain4 
,to visit the ,fair with profit or      
comfort you must leave your  sense of   
duty behind4 ,whoever goes there with   
intent to thoroughly 8do  it10 is laying
 up for himself anguish of mind and the 
complete  annihilation of his muscular  
and nervous force4 ,it is far too big   
for  any question of conscience to be   
allowed to enter in4 ,its bigness is    
beyond description4 ,no words or        
pictures can tell the story of its size4
  ,experience alone can teach it4 ,you  
must go there day after day1 to  return 
at night with tired eyes and aching     
limbs1 and with the bitter  and         

ever-increasing knowledge that as an    
exhibition you can never grasp  it4     
,where other exhibitions have been      
satisfied with a display of an  hundred 
cubic feet of any special article1      
,chicago must have at least an  acre4   
,of whatever the world has seen before  
this time it now sees larger  specimens 
and more of them4 ,this means for the   
visitor more steps1 more  fatigue1 more 
confusion1 more time1 and more money4   
,illustration3 ,,fakirs4    ,but there  
is a good side to all this1 if one can  
forget his physical  fatigue4 ,few of us
 fully realize what the ,fair is doing  
for this country  sthetically4 ,not so  
much by its art collections1 for the    
average  ,american sees1 or can see1    
enough good paintings in the course of a
 year  to bring up his standard to a    
respectable level if he so elects1 but  
by  the architecture of the buildings   
themselves4 ,unless the aforementioned  
8,average ,american0 is an undeserving  
barbarian who has made up his mind  to  

prefer the wrong thing1 these impressive
 monuments cannot fail to do  him good4 
,the honest beauty of their design ought
 to stamp itself with  sufficient force 
upon his dawning reason to make him see 
the crudity of  the ,united ,states     
architecture in which he has wallowed up
 to date4 ,no  praise is too high for   
what ,chicago has achieved in this      
direction4  ,there are1 of course1 at   
the ,fair some painful examples of what 
the  untamed ,american architect loves  
to do1 but he is fortunately in the     
minority4 ,and the very contrast he     
offers works for progress in the  cause 
of good art and a higher standard4 ,the 
,united ,states ,building1  designed by 
a ,government architect1 is a melancholy
 warning4    ,the more intimate one     
becomes with this particular fair1 the  
more  forcibly he realizes the fact that
 we are1 above all else1 a practical    
people4 ,after being duly impressed by  
the gigantic proportions and  artistic  
excellence of the buildings1 for which  

no praise is too high1  we come         
gradually to learn1 as we meander among 
the exhibits1 that those  things which  
excite our surprise and curiosity are   
generally the results  of ingenuity and 
manual skill4 ,in those departments1 for
 instance1  relating to art1 literature1
 and history1 there is little to startle
 the  traveller who is at all familiar  
with previous international shows4 ,the 
best in the art galleries is1 as usual1 
from ,europe4 ,there is no  dodging the 
fact that the average ,american is not  
overladen with the  artistic sense4 ,his
 enthusiasm runs in other directions4   
,when it comes  to the outward          
manifestations of human ingenuity1 he is
 8on deck20 he is  8in it0 and 8with    
you40 ,the application of electricity to
 filling teeth1  or converting sawdust  
into table-butter1 kindles in his bosom 
an  excitement he never experienced in  
the art department4 ,it certainly       
seems1 after a visit to the electricity 
and machinery1 that human hands  can do 

nothing that is not more quickly        
accomplished by some machine4  ,not only
 this1 but time and distance count for  
nothing1 and1 if we keep  on as we have 
started1 the day will soon be here when 
the man in ,maine  can shake hands with 
his friend in ,arizona4 ,already the sun
 is a  hard-working slave4 ,light1 air1 
water1 and in fact all nature1 seems    
cruelly overworked4 ,if she ever        
strikes1 it will be an awkward period   
for us4 ,these mechanical and scientific
 surprises make it interesting to       
speculate as to possible sights at our  
next grand exhibition1 say twenty  years
 hence4 ,the man in ,china1 for         
instance1 need not go to the future     
fair at all4 ,he will probably be able  
to see and hear it all at home4 ,if  he 
does go he can return to ,shanghai for  
his lunch4    ,but the ,american as seen
 at this fair1 although first of all    
practical1  is not1 from another point  
of view1 so far behind in his artistic  
sense  as we are in the habit of        

considering him4 ,in the first place1 he
 is  found1 as a rule1 standing before  
the best paintings and passing by the   
poorer ones4 ,those galleries containing
 the finest works are invariably  the   
most crowded4 ,and this is the greatest 
compliment we can pay  ourselves4 ,if1  
on the other hand1 enthusiastic groups  
collected about  the impressionists1 and
 took pleasure in the purple and yellow 
8effects10 that are sprinkled about the 
,french and ,american sections1  there  
would be cause for anxiety4 ,but such is
 not the case4 ,that the  impressionists
 still count their warmest admirers     
among themselves1  their wives1 sisters1
 and aunts1 is a hopeful sign4 ,as a    
people1 we take  many things less       
seriously than some of our              
contemporaries1 but in  matters of art  
we like it with a purpose4 ,too little  
clothing still  strikes us as frivolous 
and improper4 ,blood1 violence1 and all 
unpleasantness are sometimes            
historically instructive1 but1 as a     

rule1  we are fond of comfortable       
subjects4 ,we still like a taste of     
sugar in  our art4    ,but the brightest
 sign of all is the universal and hearty
 appreciation  by the multitude of the  
buildings themselves4 ,the expressions  
of delight  by those who see for the    
first time these marvels of             
architectural  beauty1 indicate at least
 a capacity for artistic enjoyment4 ,in 
fact1  the ,american who steps for the  
first time upon the borders of the      
,grand  ,basin1 and looks upon the scene
 before him without a tingle of pride   
and  pleasure is not of the stuff he    
should be4 ,no words can give a just    
idea  of the magnificence and restful   
beauty of this gigantic achievement4    
,rome and ,greece were of marble and    
built for a more serious purpose4  ,this
 is a city for a single summer4 ,as such
 it is a complete and  glorious triumph4
           99       99       99       99
       99    ,there is nothing like a   
colossal exhibition to emphasize the    

disastrous  effects of wealth upon the  
human spirit4 ,your friend with plenty  
of  money goes to the ,fair because     
others do and because he hates to be    
8out  of it40 ,he reaches ,chicago in a 
palace car1 occupies luxurious rooms at 
a comfortable and expensive hotel1 takes
 a carriage when others walk1  and at   
the exhibition itself derives pleasure  
only from those things  that are        
unexpectedly novel4 ,and to him such    
sights are few and such  sensations     
rare4 ,what he does realize1 however1   
continually and with  force1 is the     
enormity of the crowd with its          
thoughtless persistence in  holding the 
best places in front of those exhibits  
he wishes to see  himself4 ,moreover1   
there is an ever-increasing sense of    
physical  discomfort1 and that is       
something your moneyed friend is slow to
  forgive4 ,but he does his duty1 and he
 is glad above all to get home  again4  
,but how different with your less       
prosperous friend1 who has been         

economizing for months in order to get  
there6 ,it being an expensive  business1
 his time is limited1 and he drinks it  
in through all his  senses1 excitedly   
and with large gulps4 ,it is hard work1 
but how  interesting6 ,that dull pain   
which overtakes the great majority of   
sightseers soon catches him in the back 
of his neck1 but as long as he  can see1
 hear1 and walk1 he profits by his      
opportunities4 ,and he goes to  his home
 mentally refreshed1 a broader and a    
wiser man4 ,he has gained an  experience
 he would not exchange for many dollars4
    ,illustration3 ,a ,,bride ,,and     
,,groom4    ,an unlooked-for feature of 
the exhibition is the profusion of newly
  married couples4 ,whether all this    
individual ecstasy adds gayety or       
mournfulness to the ,fair depends1 of   
course1 entirely upon the point of  view
 from which the victims are regarded4   
,it is evident that many happy  grooms  
have considered this a chance to kill   
two birds with one stone1  and1 as far  

as one can judge results from outward   
appearances1 there is  no question as to
 the practical working of the scheme4   
,the happy couple  find themselves in a 
sort of fairy land1 wandering about     
among countless  strangers1 whose very  
numbers seem to lend security and to    
harden the  over-sensitive soul4 ,the   
crowd also seems to create a feeling of 
isolation which the innermost recesses  
of a virgin forest could never  supply4 
,moreover1 there is here so much else to
 occupy the attention of  the usually   
obnoxious public that the bride and     
groom can hold hands  with absolute     
security and be as bold or blushing as  
their temperaments  may demand4    ,the 
rolling-chairs that run about the       
grounds and through the buildings  are  
the salvation of many a fainting spirit4
 ,to thousands of human  beings with    
nothing but a human back and human legs 
the fair would be a  failure without    
them4 ,they are support for the weary1  
strength for the  weak1 and hope and a  

new life for the despairing4 ,the guides
 who  navigate them are1 as a rule1     
college students1 profiting by this     
opportunity to see the fair and to      
secure additional dollars toward        
completing their studies4 ,the result   
is1 for the occupant of the chair1  an  
intelligent and agreeable companion1 who
 is ready and willing to give  any      
information he may possess4 ,and        
besides1 they are neither sharks nor    
liars1 but fair and honorable respecters
 of truth4 ,there is sometimes a        
contrast in manners and education       
between the occupant of the chair and   
the man behind that is not in favor of  
the former4 ,when one sees what is      
evidently a citizen with far more money 
than brains1 and without the  faintest  
appreciation of the beauties that       
encompass him1 wheeled about  at        
seventy-five cents an hour by a youth so
 far his superior that any  comparison  
is impossible1 it causes one to realize 
that ,fortune is  indeed an             

irresponsible flirt1 who is never so    
happy as when doing the  wrong thing4   
,a not uncommon sight1 and one of the   
countless illustrations of what an      
excellent husband the ,american becomes 
when properly trained1 is that of  the  
weary1 uninterested man1 lingering      
patiently among laces1 china1 and  views
 of ,switzerland4 ,his heart all the    
while is off with the machinery1        
possibly with that more than human      
little machine that winds the cotton  on
 the spools4 ,such cases are1 of course1
 offset by the devoted women  who wear  
themselves out in tramping through      
soulless acres of  agricultural         
products1 locomotives1 wagons1 models of
 ships1 and all the  other follies that 
appeal to man4    ,illustration    ,the 
burning question of the hour for the    
visitor from another city is  the       
question of finance4 ,he who is worth   
his million and intends  spending a     
fortnight in ,chicago1 will do well to  
take his million with  him4 ,he may     

bring some of it away1 but that will    
depend entirely upon  his own capacity  
for economy4 ,before registering at the 
hotel let him be  sure to secure his    
return ticket1 for it is a long walk    
from ,chicago to  ,new ,york4 ,these    
remarks are not intended to discourage  
all who are not  millionaires from      
visiting the exhibition4 ,it can be done
 with less  money4 ,the writer has      
himself accomplished it4 ,in fact1 it is
 only fair  to say that many of the     
stories of extortion which have come    
from the  ,white ,city are much         
exaggerated4 ,the most successful       
brigands are in the  city of ,chicago1  
and not at the ,fair4    ,the writer can
 testify1 from his own personal         
experience1 that a very  good lunch can 
be procured in the ,state of ,illinois  
for less than one  hundred dollars4     
,thirty dollars is more than enough for 
a sandwich1 and  a glass of water can be
 purchased anywhere for less than ninety
 cents4  ,while to walk by the cafs and 

restaurants and look upon others who    
are eating1 costs the promenader nothing
 whatever4 ,but these moderate  prices  
do not obtain at your hotel4 ,the object
 of keeping a hotel is1  like some other
 occupations1 partly to make money4 ,the
 ,chicago  hotel-keeper does not ignore 
this fact4 ,illustration3 ,,the         
,,question ,,of  ,,finance4    ,his     
ideas of the relation of profit to      
expenditure are well calculated  to     
startle the guest of reasonable         
expectations4 ,if the guest is not      
overweeningly ambitious and is satisfied
 to sleep in a closet or hang  from the 
stairs1 his expenses need be no greater 
than if he occupied a  handsome suite of
 rooms at any first-class ,new ,york    
hotel4 ,but if he  insists on having a  
real chamber1 larger even than his own  
bathroom at  home1 and with a real      
window in it1 then he must pay4 ,and it 
is then  that he begins to discover why 
his landlord keeps a hotel4 ,any        
previous  extravagances in the way of   

horses1 real estate1 or precious stones 
are  as nothing to the present outlay4  
,he finds that the rate per diem is1 as 
far as he can judge1 based upon the     
supposition that the hotel is to be     
closed to-morrow and must be paid for   
to-day4 ,and real estate is high1  even 
in ,chicago4 ,in matters of nourishment1
 the wealth of ,ormus is of no  avail1  
unless the waiter receives a tip        
exceeding in value the  handsomest      
,christmas present ever given to a      
dearest friend4    ,within the grounds  
there is little extortion1 thanks to the
 firmness of  the ruling powers4        
,illustration3 ,,caf ,,in ,,the ,,midway
 ,,plaisance4    ,but let not the       
,chicagoan whose eye may fall upon these
 lines suppose  for an instant that they
 are intended as reflections on his     
character4  ,the city that secured the  
prize is simply fulfilling its          
inevitable  destiny4 ,had ,new ,york    
drawn the plum we should have witnessed 
a worse  extortion1 with the added      

mortification of a much inferior        
exhibition4  ,moreover1 there is no     
public spirit in ,new ,york1 and there  
is a great  deal of it in ,chicago4     
,this sentiment alone is more than      
enough to make  the difference between  
success and failure4 ,the woods are full
 of  citizens willing to begin at       
sunrise and discourse to you until      
midnight  of the wonders of ,chicago4   
,in ordinary times this burning desire  
to  impart just that kind of information
 is not always appreciated by the       
outside world2 but in times of fairs the
 spirit that prompts it becomes  a      
mighty engine4 ,it was soon demonstrated
 that these citizens could work  as well
 as talk1 and as a result the ,white    
,city has risen as from a  fairy's wand4
    ,the important question for the     
individual citizen is whether it is     
worth  his while to go to this fair4    
,and this1 of course1 depends altogether
  upon his purse1 his stomach1 his back1
 his legs1 nerves1 wife1 children1  and 

business4 ,he may never have another    
such opportunity for mental  expansion  
and physical discomfort4 ,it is a marvel
 of architectural  beauty4 ,it is days  
of instruction1 of art and science1 of  
surprise and  exasperation1 of mental   
development1 fatigue1 and financial     
ruin4 ,in the  end his personal         
preferences1 however1 will probably have
 little to do  with it4 ,all the world  
are going1 and he must go too4          
,,the ,,art ,,of ,,the ,,white ,,city   
,by ,will ,h4 ,low      ,on the way west
 to the ,white ,city1 to 8the stately   
pleasure-dome  decreed10 where the arts 
of civilization by the unwritten law of 
,international ,expositions hold their  
court1 the observant traveller  finds   
abundant food for thought4 ,beyond      
,niagara1 assuming his point of         
departure to be ,new ,york1 he sees in  
the landscape through which he is       
whirled a continuous sweep of flat      
farming land1 but little water2  fences 
everywhere1 trees sparsely scattered1   

and plain box-like houses  telling only 
of shelter2 abundant barns differing    
little from the  dwellings1 and from    
time to time towns of varied            
nomenclature ranging  from ,delhi to    
,kalamazoo4 ,through the horizontal blur
 caused by the speed  of the train      
through which all this is seen1 there   
appear1 principally  about the stations1
 figures which lend a languid interest  
to the dead  level of monotony4    ,the 
human interest of the picture1 however1 
tells the same story as the             
landscape--a story of hard work1 of     
material reward1 an acquiescence in  the
 law by which labor gains bread and     
shelter1 and little else4               
,occasionally1 in the immediate vicinity
 of the stations1 there is some  attempt
 at adornment1 generally confined to    
8tidying up0 the  surroundings2 but     
around the farm-houses few or no        
flowers1 little or no  attempt to       
beautify the home1 nothing of the almost
 frantic suburban  effort of the ,east  

which has made the country              
kaleidoscopically varied  with color1   
for the most part bad1 yet giving hope  
that the next  generation will do       
better1 and pointing at least to a      
desire for beauty4  ,individual effort1 
unseen along the route1 may be slandered
 by the  preceding1 but such for many   
monotonous miles seemed the foreground  
of  the picture we were journeying to   
see4    ,at last a plain1 varied by     
marshes1 through which boarded walks    
running  at right angles1 with an       
occasional house here and there1        
testified to  the various suburban      
excrescences of a great city2 then a    
dome or two1  towers1 flags fluttering  
in the sun1 innumerable trains1 clangor 
of  bells and shrieking of whistles2 and
 with ,chicago seven miles away1  hidden
 in a pall of smoke1 the ,white ,city   
was at hand4    ,there are certain      
mastering impressions in one's life1    
certain scenes  which stamp the memory1 
and1 like the priceless kakemono which  

the  reverent ,japanese withdraws from  
hiding when in the mood to              
,illustration3 ,,lighting ,,the         
,,natural ,,gas ,,torches ,,on ,,the    
,,roof ,,of ,,the  ,,administration     
,,building4    enjoy it1 rise obedient  
to one's thought in aftertime4 ,such a  
memory is  that of a first sunny morning
 in ,paris3 a ride from the ,madeleine  
across  the ,place de la ,concorde1     
along the ,tuileries ,gardens and the   
,louvre1  across the ,seine with the    
island and ,notre ,dame in the distance1
 and  then through older ,paris to the  
gardens of the ,luxembourg4 ,or again1 a
  certain early moonlit evening in      
,florence1 with the ,duomo looming at   
the  end of the street1 ,giotto's       
,campanile standing sentinel at its     
side1 the  narrow street to the ,piazza 
della ,signoria with its ,palazzo       
,vecchio and  the ,loggia dei ,lanzi1   
thence by the side of the ,uffizi to the
 ,arno and  across the ,ponte ,vecchio  
up to the ,pitti ,palace4 ,these        

memories1 common  to so many1 are often 
gained on ground made familiar through  
study of  guide-books and photographs   
which1 instead of dulling realization1  
add  to it the zest of more thorough    
appreciation4 ,in like manner1 study1   
discussion1 photographs1 and engravings 
prepare one for the ,columbian          
,exposition2 but the first few hours of 
living in its architectural  dreamland  
gives reality to the shadowy            
preconception1 and adds the  priceless  
gift of another masterpiece to memory's 
picture-gallery4    ,it is probably     
impracticable in any case1 and when we  
think of the  transformation that this  
prairie has witnessed in two short      
years1 quite  impossible1 in the case of
 the ,exposition1 to keep the approaches
 of a  great popular resort in any      
degree beautiful4 ,here we have on the  
land  side of the ,fair the usual       
assemblage of cheap shows1 lemonade     
venders1  and the like1 which line the  
unsightly fence and make up what a      

friend  has dubbed the ,sideway         
,unpleasant4 ,the fence is hard to      
pardon in a land  where energy is       
predominant1 desire to do the best not  
wanting1 and  staff abundant4 ,a high   
white wall enclosing the substantial    
fabric of  their dream would have done  
much to give the western approach       
something  of the festal magnificence   
which the architects have given to the  
entrance by the ,peristyle at the lake  
side4    ,illustration3 ,,at ,,night    
,,on ,,the ,,midway ,,plaisance4    ,but
 once within1 to pick flaws criticism   
must take a higher flight than  one1    
frankly astonished at the goodness of it
 all1 is disposed to permit  it to4     
,nothing is perfect in this mundane     
sphere1 but this effort on  lines as yet
 untrodden by these ,states has such    
measure of success that  one is proud to
 feel that this has been done in our own
 time1 in one's  own country1 by men of 
one's own race--the race that peoples   
our  seaboard1 fills our manufacturing  

towns1 tills our great farms1 and       
stretching westward extracts precious   
metals here and cultivates              
orange-groves and vineyards there2 the  
race which is daily urged1 on the       
8whaleback0 steamer from the city to the
 ,fair1 to purchase its  chewing-gum    
before the boat starts1 as none is sold 
after leaving the  pier2 the race that  
is so cosmopolitan1 so made up from     
strange and  opposing elements1 and is  
withal so homogeneous1 so ,american--and
 proud1  above all1 to feel that this   
curious people have had1 at the crucial 
moment1 the good sense to be            
inconsistent1 to make haste slowly1 to  
defer to the few1 to make their         
,exposition the most beautiful before   
setting to work to make it1 as things   
needs must be here1 the biggest in  all 
creation4    ,illustration3 ,,indian    
,,girl ,,and ,,bull1 ,,modelled ,,by    
,,french  ,,potter4    ,to be of this   
race and a follower of the arts2 to have
 noted for years  the growth of public  

desire for    ,illustration    art and  
the frequent lapses to indifference on  
its part2 to have seen  that our artists
 as they grow in strength and numbers   
claimed the right  to do something      
larger and finer and better than the    
private house1 the  portrait statue1 or 
the genre picture2 and then to come     
here1 where  for the first time they    
have found opportunity1 and where the   
alliance  of architecture1 sculpture1   
and painting has produced its first     
work1 to  find that first work          
surprisingly good1 is to feel proud not 
alone for  the valiant craftsmen who    
have produced this result1 but for the  
country  at large which has stood behind
 them1 and above all for the solid men  
of the city of ,chicago who have planned
 the work so bravely and so  wisely4 ,so
 many elements enter into an enterprise 
of this kind that to a  community like  
ours 7unaided by a parental government  
which1 as in  ,france1 takes upon       
itself1 as one of its functions1 the    

provision of  public pageant and        
amusement1 and keeps as it were all the 
material in  stock7 the problem was more
 than difficult1 and the solution1      
solved as  it has been1 most surprising4
 ,eighteen months ago in ,paris1 as ,i  
stood  with a ,french friend in the     
shadow of the ,eiffel ,tower1 he said1  
indicating the colossal construction1   
8,i suppose that at ,chicago you  will  
have a tower bigger than that1 and that 
your exposition will be a  triumph of   
that sort of thing40 8,i suppose that it
 may10 was the answer2  but the tower   
which is such a blot on ,paris1         
diminishing in scale her  most beautiful
 monuments1 is nowhere to be seen in    
,chicago1 and though  the bones and     
sinews of the ,liberal ,arts building   
may be a 8triumph of  that sort of      
thing10 its flesh of staff effectively  
covers and adorns it  without           
concealment of construction or strength1
 but with due  consideration paid to    
beauty4    ,to house the exhibits1 to   

provide for instruction1 and to make a  
pleasure-ground for the people 7it could
 be urged from a utilitarian  point of  
view7 might indeed have been done more  
simply1 or1 as the  phrase runs1 in a   
more 8business-like0 way4 ,one rugged   
old farmer ,i  overheard1 as ,i stood   
leaning on the balustrade at the back of
 the  ,mac,monnies fountain1 as he      
pulled his wife away from the           
contemplation  of the charming group of 
mermaids and sea-babies who disport     
themselves  in the wake of ,columbia's  
triumphal galley1 8,come along1 ,maria1 
,i never  see no use in them things2    
women with fishes' tails40 ,maria went  
along1  but ,i fancied that ,maria's    
daughter lingered a moment1 and she may 
have  found the 8use0 of the artist in  
the social system4 ,at any rate1 the    
,chicago business man who individually  
and collectively represents the         
controlling power of this vast          
enterprise knew the use of beauty1 and  
with the sagacity born of commercial    

success called to his aid the men  most 
eminent in their professions1 and       
then--left them alone4    ,arguing      
without absolute knowledge1 is it not   
easy to imagine that many  times during 
the two years spent in constructing     
these superb  structures1 the heart of  
the business man must have failed him in
 seeing  this child of his creation grow
 in beauty and strength to be sure1 but 
at a cost of so many millions8 ,no      
record exists1 it is safe to say1 of    
any questioning4 ,the artists had been  
called in1 they were doing their  work  
loyally2 and no less loyally1 through   
financial crisis1 business  depression1 
and public indifference1 the business   
man performed his part  of the contract4
 ,he had pledged himself to the whole   
country to do his  best1 the pledge had 
been given and accepted in the hour when
 he bore  the coveted privilege to hold 
the ,exposition away from competing     
cities1  and the ,court of ,honor shows 
how well the pledge has been kept4 ,a   

detail  of organization1 one of the many
 which would make the history of the    
,exposition most interesting if written1
 was told the other day1 and is  so     
characteristic of the spirit in which   
the ,fair has been put through1  that it
 is worth incorporating here4 ,at a time
 when the ,exposition had  reached the  
limits of all possible insurance1 when  
every sound insurance  company in the   
world was carrying all the risks it was 
able to take1 the  ,exposition concluded
 to do its own insurance1 the details of
 which  procedure need not be gone into 
here4 ,at this time there were a number 
of pictures1 about nine in all1 which   
had been promised for the ,loan         
,collection of ,foreign ,masterpieces1  
and were not forthcoming because of  the
 inability of the ,exposition to procure
 special insurance policies  which had  
been promised when1 long before1 the    
owners of the pictures  had consented to
 lend them4 ,there seemed no way out of 
the difficulty1  when the simple        

question was asked of the head of the   
,art ,department1 if  it was essential  
to the completeness of the ,loan        
,collection that these  pictures should 
be in it8 ,to which was answered1 that  
if not essential1  it was at least      
desirable2 whereat this business man    
gave instructions  that the owners of   
the pictures be at once communicated    
with and  informed that he would        
personally guarantee them against loss  
if they  would allow the pictures to    
come4 ,as this little show of public    
spirit  involved a personal liability of
 over two hundred thousand dollars1 the 
figures may be considered eloquent      
enough to find place in such a paper  as
 this4    ,the wisdom of a large policy 
is to be found on every hand4 ,the      
,exposition has been called a dream1 and
 as it is so soon to vanish may  well be
 one2 but if the intent had been to     
deceive1 it could hardly have  been made
 more deceptive4 ,to one in the gondolas
 or the launches  speeding between these

 walls1 they stand as though for all    
time2 and for  one walking in the long  
arcades1 detail and veracity of         
construction  force themselves on the   
attention most plausibly4 ,it has been  
too often  described how the architects1
 adopting certain dimensions1 have      
obtained  a conformity of effect2 but   
that once obtained1 they have shown the 
greatest freedom1 and though all of them
 are men of many works1 they  have never
 perhaps been more happily inspired4    
,the ,administration  building is the   
appropriate crown to the buildings      
leading up to it1 and  ,mr4 ,mc,kim's   
,agricultural building is characterized 
by great charm of  proportion1 and      
though heavily charged with sculptured  
decoration is in  nowise overloaded4 ,in
 addition to the very decorative        
sculptures due to  ,mr4 ,martiny1 there 
is on this building some of the most    
satisfactory  ornament in purely        
classical vein that ,i can remember on  
any modern  structure4 ,in fact1 though 

the treatment of this group of buildings
 is  thoroughly classic1 it is pleasant 
to record the belief that in no other   
country would the traditions have been  
so well observed and at the same  time  
so revivified as in ours4 ,our men owe  
their education to the ,old  ,world1    
chiefly to ,france2 but it seems as     
though a certain separation  from the   
influences of their schools had given   
them an independence  which their       
foreign schoolmates lack4 ,it is        
probable that had ,paris in  #ahhi      
adopted the programme followed here the 
result would have been as  correct1 as  
thorough1 as noble as this2 but the     
result as a whole would  have been      
colder1 and lacking in the individual   
character observable  here1 where every 
man seems to continue the tradition     
rather than follow  it4 ,mr4 ,post had  
long accustomed us to his capacity to   
build big and  well2 but never to build 
so big and so well as in the ,liberal   
,arts  building4 ,when sailing along the

 lake-front one appreciates the         
immensity of the structure1 which seems 
to equal that of all the other          
buildings combined2 but near at hand one
 feels its beauty more than its         
bigness1 and the simplicity by which    
this result is arrived at4 ,the         
portals1 taking almost all the          
decorative features1 are admirable4 ,mr4
  ,atwood's ,fine ,arts building is     
perhaps the best where all is so good1  
owing almost nothing to its decorative  
features--which1 as the building  is to 
be permanent1 one may hope to see       
changed4 ,the frieze of the  ,parthenon 
should hardly be borrowed to grace so   
fine a modern building4  ,at night ,mr4 
,atwood's building is seen in all its   
beauty of proportion1  and the nights   
when it is illuminated best of all4 ,the
 torches running  along the top of the  
building burn great flames of natural   
gas1 and the  illumination is at once   
simple and effective4 ,on the roof of   
the  ,administration building something 

of the same effect is obtained in       
conjunction with the electric light     
outlining the dome2 but as the  torches 
on the ,fine ,arts building are seen    
against the sky1 the effect  is finer4  
,night and electric light play a great  
part in the spectacular side of  the    
,fair4 ,solomon in all his glory never  
saw such a sight as the plain  people of
 this continent have had on illumination
 nights this summer4  ,innumerable      
incandescent lights sparkle along the   
cornices and  pediments2 the top of the 
wall inclosing the grand basin is       
outlined in  fire2 search-lights from   
the top of the ,liberal ,arts building  
cut their  wide swaths of light in      
gigantic circles1 resting for a moment  
here and  there to bring out now this   
detail or to throw into dazzling relief 
a    ,illustration3 ,,central ,,portion 
,,of ,,macmonnies ,,fountain--,,effect  
,,of  ,,electric-,,light4    sculptured 
figure or beast4 ,it lingers longest on 
,mac,monnies's fountain1  the fitting   

jewel resting lightly on the bosom of   
this ,venetian beauty  whom but         
yesterday we called ,chicago2 and well  
it may1 as in a degree  the fountain is 
the clou of the ,exposition4 ,it seems  
but fair to call  this fountain the most
 important of all the decorative        
sculptures4 ,every  exposition has its  
great fountain1 and the choice of ,mr4  
,mac,monnies to  execute this one was   
most happy4 ,our sculptors as a rule    
have had too  little opportunity to     
exercise the decorative side of their   
art1 and we  do not possess as does     
,france a small army of sculptors who   
can be1 as  they were in '#hi1 turned   
loose to decorate a great exposition    
with  groups and figures4 ,it demands   
not only a decorative instinct but      
practice as well1 a certain habit of and
 delight in handling huge masses  of    
form which men who are capable perhaps  
of graver and more ponderated  work may 
lack or have lost4 ,thus fifteen years  
ago ,saint-,gaudens1 fresh  from school 

and filled with its traditions1 would   
have in the course of  natural selection
 been the man for the work2 but with    
years and widening  experience it is a  
question whether he would have          
undertaken to design  and carry out in  
the short space of time that which his  
brilliant pupil  has undertaken and     
carried through with all the audacity   
and fire of  youth1 tempered by a       
delicacy of taste which gives it after  
all its  greatest value4 ,anything more 
typical of the youth and hope which we  
fondly believe to be the characteristic 
of our nation is hard to  conceive2 and 
if1 as is to be so greatly desired1 the 
monument is to be  made permanent 7which
 the completeness of the modelling of   
individual  parts1 an unusual quality in
 works like this1 would render easy71 it
  might well stand to represent an era4 
,mr4 ,french's massive and dignified    
figure of ,america may be taken as the  
matron of this generation1 tried  and   
made strong through war2 but            

,mac,monnies's epitome of youth         
represents the future of our as yet     
experimental civilization1 and  though  
the boat is propelled by the arts and   
sciences1 it is the young  girl who     
fills such a large part in our          
experiment who is really to the  fore4  
,it is ,smith and ,wellesley who row    
with the young girl enthroned2  and     
vogue la galre1 with pleasant waters    
ahead and a safe port at  last6    ,of  
,mr4 ,saint-,gaudens we have only a     
figure of ,columbus1 which he has       
signed in collaboration with another of 
his pupils1 ,miss ,mary ,g4  ,lawrence4 
,it is a good exemplification of what   
has already been said  that at the first
 glance this figure seems almost out of 
place here4 ,it  is of a character--the 
highest character--of work which depends
 on the  most serious study4 ,conception
 and pose are reduced to the simplest1  
almost archaic form1 and while it does  
not seem quite as successful1 it  is of 
the same family as the ,lincoln here in 

,chicago or the ,deacon  ,chapin in     
,springfield4 ,the best of the sculpture
 here1 while subject to  the limitations
 twice mentioned1 has perhaps gained a  
quality more  essentially ,american by  
the absence of what may be called the   
ready-made  decorative quality4 ,the    
quadriga on the ,peristyle1 by ,french  
,potter1  the ,indian girl and the bull1
 and indeed all the figures and animals 
at  which these artists have worked     
together1 are thoroughly satisfactory as
  decoration1 and more native and       
appropriate to our soil than the lighter
  touch and greater facility of the     
sculpture at the exhibition on the      
,champ de ,mars would have been4    ,the
 painters of the band of allied artists 
had the more difficult task4  ,in the   
first place our country has arbitrarily 
forced our painters to  work on a       
miniature scale1 and with little        
exception our men affronted  their task 
with theory and enthusiasm as their     
preparation4 ,the  sculptors had at     

least the practice of modelling large   
works2 but with  the exception of ,mr4  
,maynard1 who has taken ,pompeian       
motives and given  us under the porches 
of the ,agricultural building a         
thoroughly  architectural and adequate  
decoration in which his past experience 
has  rendered him service1 the painters 
were virtually winning their first      
spurs4 ,taking this into consideration  
their success is marked4 ,tried by  the 
standard that the space allotted to a   
decoration should be filled1  and filled
 by a composition which could not serve 
within any other  shaped space than that
 for which it is devised1 ,mr4          
,blashfield's seems  the most           
successful4 ,in addition to this quality
 it has great charm of  color and       
dignity of conception1 which latter     
quality1 combined with  clean1          
workmanlike drawing1 is shared by ,mr4  
,cox4 ,mr4 ,reid's and ,mr4  ,weir's    
domes also have charming qualities1     
while ,mr4 ,shirlaw's gives one  the    

impression of a complete mastery of his 
scheme and intention4 ,at the  southern 
end of the ,liberal ,arts building1 ,mr4
 ,melchers and ,mr4 ,mc,ewen  have large
 compositions1 those of the latter being
 marked perhaps by the  greater         
individuality2 but while they are all   
7each painter having two  compositions7 
executed in a very able manner1 they    
seem somewhat lacking  in spontaneity4  
,in another part of the grounds in the  
,women's building  the feminine         
contingent makes a brave show4 ,mrs4    
,mac,monnies here leads  the van with a 
composition sober in line and excellent 
in color4 ,miss  ,cassatt1 having       
apparently defied the laws of           
decoration1 has divided  her space in   
three parts1 in each of which she has   
painted pictures  which1 from her       
previous work1 must be judged to be of  
excellent  quality1 but which1 from the 
height at which they are seen and by    
reason  of the small scale of the       
figures1 are virtually lost4 ,but this  

partial  and cursory enumeration of what
 may be seen at the ,fair could be      
continued beyond the limits of an       
article like this1 and still leave      
unnamed and apparently unappreciated    
much that is admirable and more  that is
 hopeful4 ,of the delights of living in 
the midst of this1 of  seeing our people
 in holiday trim and1 albeit1 taking    
their pleasure  somewhat sadly and      
getting as much instruction combined    
with it as  possible1 still enjoying it1
 much could be said4 ,no mention has    
been  made of the ,state buildings1     
which give1 however1 so much character  
to  the grounds4 ,new ,york's imperial  
palace1 bright and luxurious1 is        
flanked on one side by ,massachusetts's 
staid and trim reproduction of  ,john   
,hancock's mansion1 with additions of a 
character which must temper  the smile  
of gentle reproof with which it regards 
its frivolous  neighbor2 while on the   
other stands ,pennsylvania's broad      
piazzaed home  which shelters the       

,liberty bell4 ,new ,jersey reproduces a
 colonial  8,head-quarters0 mansion1 and
 ,washington is big and new and booming2
  ,california shows her fruits and      
extols her wines in a lowlying structure
  which recalls the adobe missions of   
her first settlers2 and each and  every 
,state has here its home1 first for its 
own people and then for the  neighbors4 
,strange neighbors we have too1 for the 
,midway ,plaisance is  not far away with
 its turbaned1 sandalled1 greased1 and  
befeathered  inhabitants1 with its      
,german and ,austrian bands1 its great  
difference of  tongues and great        
similarity of cuisine4 ,the outdoor life
 which is  made so much of in ,europe   
here seems unappreciated2 the numberless
  cafs and out-of-door restaurants which
 make up so much of the comfort  with   
which one sees an exposition there still
 8leave to be desired0  here4 ,but these
 are details and of things earthy4 ,the 
moral of the tale  is short and easily  
read4    ,our work-a-day nation         

awakened1 it has been frequently said1  
to  knowledge of the existence of art as
 a factor in life at ,philadelphia      
seventeen years ago1 and here and now   
attains as it were its majority4  ,we   
may leave out our exhibit in the ,fine  
,arts building proper1 with the  mere   
registration of the fact that by general
 consent it holds its own  as well or   
better than close students of our art   
have known that it has  done for several
 years past4 ,the exhibition1 or that   
part controlled by  the ,columbian      
,commission1 is our best sign of        
progress1 nay1 of  achievement4 ,it has 
proved that throughout the land when    
occasion arises  to build1 to carve1 or 
to paint1 we have the men to do it4 ,art
 hath her  victories no less than       
commerce2 the qualities which have given
 us our  place among nations1 now that  
the struggle is past1 are turned in     
gentler paths2 and that which was       
prophecy so short a time ago is now     
truth realized3        8,following the  

sun1 westward the march of power1       
,the rose of might blooms in our        
new-world mart2       ,but see just     
bursting forth from bud to flower       
,a late1 slow growth1 the fairer rose of
 art40          ,illustration           
,,foreground ,,and ,,vista ,,at ,,the   
,,fair    ,by ,w4 ,hamilton ,gibson     
,by the time this brief sketch shall    
have appeared in print the world's      
greatest international fair will have   
thrown open its gates to the  impatient 
multitudes1 and millions will have      
looked with rapture upon  its impressive
 perspectives of palaces and enjoyed    
their treasures4 ,even  to the great    
general public1 who are as yet awaiting 
with eager  anticipation the            
indispensable outing at the ,fair1 its  
surpassing  architectural features are  
already enticingly familiar4 ,the       
8,white ,city0  is already a heritage of
 delight and inspiration to a vast      
multitude who  have spent their         
available days beneath the spell of its 

enchantment4    ,it is no small thing   
thus to have penetrated the veil1 as it 
were1 as is  here actually done for     
many--to have materialized a vision--to 
have  embodied a paradise4 ,the         
8,heavenly ,city10 the 8,new            
,jerusalem10 with  gates of gold and    
pearl1 which in one questionable shape  
or another  hovers in the hopeful1      
faithful fancy of so many of the sons of
 ,adam  will here find a realization1   
supplanting or exalting the ideal which 
has hitherto not always been to the     
glory of ,heaven4    ,but in thus paying
 tribute to the architect we are perhaps
 unconsciously  crediting him with more 
than his due2 certainly more than he    
would  himself claim4 ,of what avail    
were beautiful palaces if they could not
 be  seen8 and how easily might such an 
assemblage of heroic structures such  as
 these at ,jackson ,park1 as in previous
 similar expositions1 have been  so     
disposed1 with relation to each other   
and their environment1 as to  have      

completely lost not only their          
individual impressiveness but the       
infinite advantage of their imposing    
ensemble4    ,we traverse the winding   
lagoon for an hour in continual delight1
 every  passing moment1 every quiet turn
 of our launch or gondola beneath       
arching bridge or jutting revetement    
opening up in either direction new  and 
ravishing vistas of architectural       
beauty4 ,yet how little have we         
considered that the very means of our   
enjoyment1 the pure blue waterway  upon 
which our gondola so listlessly floats1 
is the crowning artifice by  which the  
work of the architect is glorified--a   
very triumph and  inspiration in the    
great scheme of landscape--say rather   
waterscape--gardening1 which has made   
this ,columbian ,fair a unique model    
for all others of its kind4 ,i think it 
is conceded by the architects of  the   
,fair that in no way are its buildings  
to be seen to such  satisfaction or full
 effect as from the lagoon4 ,and it is  

well to  remember1 if only as an        
instructive object-lesson1 as we glide  
upon this  liquid street1 how much of   
our present enjoyment is due to the     
forethought of a supreme design1 which1 
even before a single  foundation-wall   
was laid1 had taken into account the    
most effective  grouping of the         
architectural features4    ,more than   
this1 too1 how many of these fortunate  
architects must have  realized the rare 
satisfaction of having builded better   
than they knew1  when for the first time
 they viewed their works from the       
vantage point  afforded by their        
collaborator1 the landscape artist1 and 
saw these  superb creations given back  
to them in twofold beauty from the clear
  mirror of the lagoon4 ,the unique     
character and important innovation of   
this lagoon feature may be inferred when
 we consider that we have here  an      
,exposition covering over five hundred  
and fifty acres1 comfortably  filled to 
its limits with the ample buildings1 and

 yet no vehicles are  to be allowed     
within its enclosure1 and none will be  
required4 ,the  circuitous elevated     
,illustration3 ,,the ,,border ,,of ,,the
 ,,lagoon4    railroad will of course   
transport the multitudes2 while by the  
interior  skilful distribution of the   
water-ways1 rippling with gayly         
caparisoned  gondolas by the score1 and 
a hundred trim electric launches and    
other  equally picturesque craft1 every 
portion of the grounds will be easily   
accessible4 ,the entire circuit on this 
water-course1 from any given  point1    
will occupy nearly an hour4 ,the        
luxurious tourist arriving at his       
destination is invited at the water's   
edge by ascending terraces of  marble   
steps1 their balustrades on either side 
overtopped by picturesque  masses of    
tropic and other luxuriant vegetation4  
,huge bronze-like  agaves surmount the  
lofty marble urns2 cannas1 musas1       
caladiums1 in most  effective and       
artistic groups1 are dispersed among    

broad expanses of  velvety sward1       
begemmed with parterres of brilliant    
bloom4    ,but it is not alone in these 
picturesque settings of lawn and garden 
which everywhere abound throughout the  
grounds that we find our fullest        
appreciation of the landscape art4 ,in  
the spell of these imposing  structures1
 towering above the revetement walls on 
each side as we  traverse the lagoon1 we
 had utterly ignored another feature of 
its  banks1 or perhaps had our attention
 only momentarily inveigled thither  by 
the invitation of the bevy of snowy     
ducks or geese or graceful swans        
hastening from our prow1 and gliding    
beneath the overhanging boughs of       
feathery gray willows4 ,here indeed is a
 haven for a tired soul1 a fairy  realm 
whose modest charms are apt to be       
overlooked in the claims of the         
overwhelming architectural surroundings4
 ,but sooner or later its restful       
refuge will be discovered and welcomed4 
,how many a foot-sore mortal1  weary    

from the very excess of enthusiasm1 will
 seek this quiet  retirement1 content   
for the moment to consign the architect 
to the  accessory place of vista and    
horizon1 while he roams and pries and   
muses  among the labyrinthian paths1    
fragrant bowers1 and shadowy glades1 and
  along the reedy flowery borders of    
this sylvan fairy island1 which the     
artistic genius of ,olmsted and ,codman 
has here1 in two short years1  conjured 
up like magic from the muddy1 dreary    
marsh4    ,illustration3 ,a ,,bit ,,of  
,,the ,,californian ,,building4         
,connected to the mainland by a         
half-dozen spans of bridges1 it is      
readily accessible from any approach4   
,it is a realm of strange               
inconsistencies and surprises1 harmonies
 and pleasant discords1 unified  with   
the rarest skill4 ,the familiar park or 
garden at one moment1 its  curving walks
 encircling more or less--generally     
less--conventional  parterre1           
diversified with closely bedded mosaic  

of bright blossoms2 and  now a path     
leading us between high walls of        
blossom-laden shrubbery1  skirting a    
rustic arbor1 or winding beneath the    
shade of tall1 dense  branches of trees1
 which1 however at home they may appear1
 so  wonderfully has the skill of the   
landscapist concealed his artifice1 are 
still almost as much strangers to the   
soil as ourselves2 the adjustment  and  
grouping giving the complete illusion of
 nature's random planting4              
,illustration3 ,,the ,,californian      
,,building4    ,only a very few of the  
thousands of trees upon this 8wooded    
island0--medium-sized white-oaks--are   
native tenants of the place4 ,only  two 
years ago isolated in the more elevated 
dunes of a great morass1  they now find 
themselves in strange company2 the soil 
from the bed of  the lagoon1 having     
levelled the former slopes about their  
feet1 is now  peopled with individuals  
as large as themselves4 ,many a rare    
nook upon  the island's borders would   

defy the critical scrutiny of the       
botanist or  artist to detect a single  
tell-tale evidence of artifice4 ,would  
you step  from the conventional park to 
the wild garden in    ,illustration3 ,a 
,,cove ,,in ,,wooded ,,island4    ten   
paces8 ,follow me through this winding  
path1 embowered with its snowy  banks of
 spira4 ,pry your way here beneath the  
branches4 ,a few more  steps1 and the   
ripples gleam through the branches      
before us1 and we  emerge at the water's
 edge beneath a tangle of willows1 while
 a brood of  white ducks1 disturbed at  
our approach1 glide out upon the        
mill-pond--for such indeed is the       
irresistible association from the       
surroundings4 ,this haphazard chaos of  
willows and alders disarms all          
suspicion of artificial planting4 ,we   
already anticipate the scene at the     
brink1 and as we press our way among the
 yielding oziers1 find ourselves        
listening for the familiar 8c-r-o-n-k0  
among the spatter-docks4 ,in a  moment  

more we confront a tiny cove bordered   
with sedges and tall  bulrushes1 and    
intermingled gray-green willows and     
alders1 while the  water beneath is     
hidden by dense clumps of lush          
pickerel-weed1 luxuriant  in their      
feathery spikes of azure bloom4 ,a tiny 
sportive frog leaps from  the border    
mud1 and a dragon-fly darts past on     
shimmering wing4    ,it is only as we   
contemplate the vista across the water  
that we realize  the beautiful deception
 as yonder beetling dome1 in its gilded 
splendor1  or sunlit palaces everywhere 
gleaming through the waters are brought 
to  our feet in ripples from gliding    
gondola1 swan1 or duck4    ,was ever    
border-tangle brushed by mill-pond raft 
or fishing-punt more  wild or           
spontaneous than this6 ,foreground and  
vista in endless  combination and       
surprise greet us as we follow our      
course about the  shore1 with ,flora's  
own wild calendar from week to week4    
,here a secluded  harbor1 bristling with

 arrowheads and white with its spires of
 bloom1  its sedgy banks aflame with    
cardinal flowers1 whose scarlet         
reflections  mingle with the snowy      
glints from the sunlit faade or         
spangling flashes  from the crystal dome
 across the water4 ,here we invade the  
sheltered  retreat of a bittern or small
 heron1 which stalks away with ruffled  
temper at our intrusion4 ,creeping      
between the neighboring bank of  alders1
 we emerge upon a sequestered nook shut 
off from the main lagoon  by a small1   
straggling islet1 plumy with willows and
 sedges1 the main  banks fringed with   
rushes and burr-marigolds and tall      
galingales that  wave their graceful    
heads above a wild garden of blossoming 
blue flag4  ,in and out among its       
willows beyond1 the ever-present fleet  
of ducks  glides among the dancing      
ripples1 or snow-white swans 8float     
double--swan and shadow10 as in the     
enchanted vision of 8,st4 ,mary's       
,isle40    ,as we leave this beguiling  

haunt the air is suddenly bewitched with
  entrancing perfume1 and our fancy lit 
with luminous visions of the  ,orient   
from the great golden doorway which     
glows through the branches  from the    
opposite brink and floods the water with
 its liquid replica4  ,attar of roses6  
,one such inviting whiff is sufficient4 
,leaving the  water's edge we return    
toward the interior of the island1 and  
are soon  confronted by the wonderful   
rose-garden wherein are assembled all   
the  roses of the world1 with their     
thousands of varieties4 ,roses single   
and  double1 pink roses1 white roses1   
roses yellow1 crimson1 orange1 and      
saffron1 and1 indeed1 of every hue but  
blue1 mingling their beauty and  their  
fragrance in an acre of bloom1 and      
sprinkling the ground in  showers of    
petals with every breeze4               
,illustration3 ,,the ,,edge ,,of ,,the  
,,rose ,,garden1 ,,wooded ,,island4     
,the now famous rose-garden lies in the 
southern end of the island1  approached 

through winding walks1 garlanded with   
flowery shrubs of every  habit and hue1 
of graceful blossom-burdened spiras1    
drooping as with a  weight of snow1 or  
varied with rare foliaged plants which  
vie with the  flowers in the endless    
play of their brilliant colors4 ,through
 the  skilful foresight and planning of 
,mr4 ,john ,thorpe1 the custodian of    
this  realm dedicated to ,flora1 the    
fair goddess has crowned him with a new 
decoration of wreath or laurel for every
 week1 from the earliest yellow  glow of
 ,may to the brilliant maples and the   
final autumnal glory of the             
chrysanthemum4    ,illustration3        
,,japanese ,,building ,,on ,,wooded     
,,island4    ,japonica6 ,japonica6 ,how 
continually does the spirit of the      
flowery land  hover here6 ,it is1       
indeed1 scarcely a surprise that the    
actual1 familiar  outlines of its quaint
 massive gables suddenly confronts us1  
looking  down above a mass of the       
,mikado's own chrysanthemum1 and we     

suddenly  find ourselves transported to 
,tokio or ,yokohama1 surrounded by a    
veritable epitome of ,japan1 embracing  
all the actual features1 floral1        
ornamental1 and utilitarian1 with which1
 through the educational  influence of  
painted fan and screen and household    
gods of vase and  kakemono1 we have     
become so pleasantly familiar4    ,the  
long1 low-roofed1 wooden temple is      
surrounded from its foundation by  a    
characteristic terraced garden1         
embracing many examples of those        
8precious goods done up in small        
parcels10 which have always been the    
particular fad of the ,japanese         
horticulturist--tiny giants of trees1 so
  to speak1 arranged in miniature parks1
 which1 for the moment1 make the        
beholder seem to be upon a mighty cliff 
or in flight with the soaring  falcon1  
else how could he thus gaze down upon   
the summit of such a huge1  lofty pine  
as this which he now sees beneath him6  
,a fine example of one  of these        

arboreal paradoxes is to be seen in the 
,japanese exhibit in the  ,horticultural
 ,building--an aged dwarf of an arbor   
vit 7,thuja7 like  a gigantic cedar of  
,lebanon1 which1 while having all the   
inherent  characteristics of an actual  
age and dignity of over one hundred     
years1  is still1 with the big vase     
which it occupies1 barely the height of 
one's shoulders4    ,illustration3      
,,an ,,aged ,,japanese ,,dwarf1 ,,one   
,,hundred ,,years ,,old--,a ,,corner    
,,of ,,the       ,,horticultural        
,,building4      ,in no structure within
 the grounds is the outward expression  
so  sympathetically reflective of its   
architectural purpose as in the         
,fisheries ,building4 ,itself reflected 
in the blue lagoon1 in its              
architectural functions and sculptural  
ornament1 it in turn reflects the       
lacustrine life of the waters1 which not
 only almost lave its foundation  walls 
but actually pour into its interior in  
fountain and cascade and  gigantic      

aquaria4 ,as we follow around these     
green translucent walls  within1 our    
passage lit only from the diffused light
 transmitted from  above the water1 we  
can almost fancy ourselves walking on   
the actual  river-bed1 ogled by familiar
 forms of sun-fish1 perch1 or pickerel2 
or  perhaps wandering as in a dream     
among fair ocean caves abloom with      
brilliant sea-anemones1 and embowered   
with mimic groves of branching  corals  
and all manner of softly swaying        
sea-weed--graceful crimson  laminaria   
reaching to the surface of the water1   
responding in serpentine  grace to the  
soft invasion of waving fin4 ,rare      
living gems of fishes1  very butterflies
 of the deep1 float past flashing in    
iridescence with  every subtile turn of 
their painted bodies4 ,star-fish1 at    
first  apparently stationary1 as though 
in mid-water1 glide across the illusive 
plane of glass1 with their thousand     
fringy discs of feet4 ,strange crabs    
and mollusks and bivalves sport on the  

pebbly bottoms1 and portentous          
monsters1 with great gaping mouths1     
threaten us as they emerge from  their  
nebulous obscurity and steal to within a
 few inches of our faces4               
,illustration3 ,,portal ,,of ,,the      
,,fisheries ,,building4    ,all of its  
interior ichthyological features might  
have been anticipated  even at the      
threshold of the building1 with its rich
 and effective  portals1 where so many  
of these very forms are seen petrified  
in surface  ornament4 ,the building is  
in the form of a rectangular central    
structure  with two octagonal annexes1  
each with its own beautiful portal1 and 
connected to the main edifice by curved 
colonnades1 with arch and               
balustrade--portal and pillar1 capital1 
entablature and arch and                
panel--everywhere sculptured with       
ornaments whose themes are drawn from   
the subaqueous life to which the        
building is dedicated4 ,the very balcony
  upon which we lean is supported by    

columns composed of four ingeniously    
and gracefully interlocked dolphins1    
while the pillars on right and left  and
 throughout the entire exterior suggest 
curious geometric fossils  from the     
deeps4 ,here a spiral procession of huge
 toads1 whose uncouth  shapes thus      
embodied in conventional ornament are   
singularly agreeable  and effective4    
,each successive pillar is a study alike
 for the  naturalist or designer--here a
 sinuous procession of river-horses     
7hippocampus71 the incurved tail forming
 a volute repeated with pleasant  effect
 in the spiral bands of ornament4       
,accommodating star-fishes  embrace     
their respective pillars1 touching      
points in geometric design4  ,here are  
eels and fishes meandering among        
bulrushes and arrowheads4  ,lizards1    
crabs1 and turtles1 each combine in     
effective ornament about  their         
particular columns1 which are surmounted
 by capitals of even  greater ingenuity 
and effectiveness of design1 perhaps    

because less  geometric4 ,gaping frogs  
leaping among water-weeds2 lobsters     
captive and  sprawling in their wicker  
8pots20 fishes entangled in the meshes  
of  nets1 or engaged in mortal combat1  
their gaping mouths finely utilized  in 
effective points of shadow--the         
modelling of each and all suggests  the 
perfection of a cast from nature4 ,to   
those who look for a happy  blending of 
architectural purpose and harmonious    
ornament1 this building  will be a      
welcome innovation4 ,to the naturalist  
or the idler in quest of  the mere      
picturesque1 the ,fisheries ,building   
with its wandering faade  and colonnade1
 its roof of ruddy tiles and almost     
,moresque richness of  surface ornament 
in high relief1 will be found well worth
 careful study4    ,how many are the    
obvious natural themes yet awaiting     
their sculptured  memorial in the temple
 of architecture4 ,must the classical   
and testy  acanthus    ,illustration3   
,,elkhorn ,,fern1 ,a ,,suggestion ,,for 

,,an ,,architect--,,in ,,the            
,,australian       ,,exhibit1           
,,horticultural ,,hall4    forever guard
 that exalted basket unchallenged1 and  
the antique1 indeed  almost palontologic
 lotus forever keep us oblivious to the 
abounding  wealth of natural suggestion 
of even surpassing opportunity8 ,what a 
rare  suggestion for a national         
architectural theme1 for instance1 has  
nature  thus far wasted on the          
wilderness in that elk-horn fern of     
,australia1  which forms one of the most
 conspicuous features of the arboreal   
exhibit of that land of tropic          
contradictions and zological anomalies4 
,where can there be found another such  
ready-made and graceful model for  a    
massive capital8    ,had this remarkable
 plant chanced to have been a native of 
ancient ,egypt  or ,rome or ,greece1 it 
is difficult to conceive of its having  
escaped  being immortalized in stone4   
,will the future national architecture  
of  ,australia ever embody its          

opportunities8 ,here is a veritable     
capital of  clustered fern-forms1       
springing in graceful relief from a     
solid  sculptured base4 ,in some of the 
examples shown it simply surrounds the  
trunk upon which it is a parasite1 and  
in others1 the architectural  suggestion
 is heightened by the cluster appearing 
at the summit of its  pillar1 the dead  
continuation of the trunk above having  
fallen4           99       99       99  
99       99    ,superlative anticipation
 of our hopes is often disastrous to    
their full  realization4 ,but no such   
danger awaits the visitor to the        
,columbian  ,fair4 ,the most extreme    
glorification of this superb achievement
 at  ,chicago still leaves us the       
superlative of actual experience4       
,dull indeed must be the intelligence   
which fails to respond to the  vision of
 beauty which the genius of architecture
 has here created4  ,whatever oblivion  
may await the other features of the     
,exposition1 the  fame of the architect 

is secure4 ,even though in their        
substance his  creations here are but as
 the flowers of a day1 to be cut down   
ere the  coming of winter1 their very   
evanescence constitutes their most      
abiding  charm4    ,though we may spend 
weeks in the enjoyment of the unexampled
 treasures  within these walls1         
confusion will at length claim most of  
our minor  reminiscences1 and the       
winnowing process of the years will at  
last leave  few tokens4 ,but the glamour
 of this celestial city1 this throng of 
ethereal palaces hovering between sky   
and sky1 buoyant as with uplifting      
archangel wings from dome and pinnacle  
and acroteria--these will abide  to the 
end of our days4          ,illustration 
,,the ,,picturesque ,,side    ,by ,f4   
,hopkinson ,smith      ,i4    ,a blazing
 sun and a clear limpid sky1 a long     
lagoon1 gray-green and  silver1 a noble 
flight of steps serving as water-landing
 for half a  dozen gay-colored gondolas1
 a grand balustrade protecting a broad  

platform leading to the porch and       
entrance of the most exquisitely        
beautiful building of modern times--the 
,art ,palace of the ,great  ,exposition6
    ,from the corner of this balustrade 
a red rag of an awning1 torn from an    
old tarpaulin1 is stretched to an oar1  
its black shadow spilling down  the     
white steps4 ,under this awning1 flat on
 his back1 sound asleep1 lies  a        
gondolier1 fresh from ,venice4 ,despite 
his nondescript costume of  brigand's   
leggings and cavalier's cap ,i cannot   
mistake that broad chest  and sunny     
face1 the crisp black hair1 and the fine
 lines of the throat  and thigh4        
8,espero60 ,i call out in glad surprise4
    8,commandi ,signore10 comes the     
quick reply1 as he springs to his feet4 
,other gondoliers join us3 ,marco1 who  
at home plys a boat at the  ,traghetto1 
just above the ,salute2 and ,luigi1 who 
for five years past  has won at the     
,annual ,regatta on the ,grand ,canal--a
 superb fellow is  ,luigi1 as handsome  

as a ,venetian1 and every inch a        
gondolier2 and  ,francesco1 his brother1
 first gondolier to the ,countess1 whose
 palace  fronts the ,accademia4 ,for the
 instant ,i am in ,venice again1 while  
they  all talk to me at once1 telling me
 of their friends and mine whom we  have
 known there--subjects far more         
absorbing than all the surprises of     
this new world4 ,five minutes later we  
are swinging up the ,lagoon1 ,marco     
bending his oar aft1 ,espero on the     
cushions beside me4    ,there is to me a
 seeming fitness in entering the ,court 
of ,honor  reclining in a gondola and   
rowed by a gondolier4 ,no other craft   
that  floats could so perfectly         
harmonize with these surroundings2 none 
so  dainty1 so graceful1 so dignified4  
,there are no other oarsmen who could   
move with such ease and finish4 ,these  
stately water-birds of ,venice and      
their masters add1 too1 an element of   
the picturesque4 ,they are to the       
lagoons what the flowers are to the     

esplanades1 or the swans to the  smaller
 inlets4 ,the launches1 noiseless as    
they are1 seem out of place  here and   
jar upon your senses2 they are too new1 
too suggestive of  progress and revenue 
and time-saving4 ,but the gondola       
revives the  traditions and customs of  
those earlier centuries1 when this great
 ,white  ,city of the ,lake was still in
 its glory4 ,moreover1 it is the only   
sort  of princely craft which these     
noble families1 whom you feel sure have 
lived for centuries in these great      
palaces1 could use in their  magnificent
 goings and comings4    ,illustration3  
,,the ,,peristyle4    ,for whenever ,i  
stand on the bridge of the ,peristyle   
and look across the  ,court of ,honor1  
surrendering myself to the magic spell  
of its beauty1 ,i  cannot help yielding 
to the conviction that this noble       
quadrangle is  surrounded by palaces of 
marble    ,illustration3 ,,distant      
,,view ,,of ,,dome ,,of ,,the           
,,horticultural ,,building4    which    

have taken centuries to perfect2 that   
the grounds and walks1  stretches of    
grass1 masses of flowering plants1 and  
bold colossal  statues have all been    
added from time to time1 as in other    
palace  gardens of old1 when opportunity
 or royal whim dictated2 that this great
  city was built ages ago1 long before  
the time of the ,greeks1 who  modelled  
their own temples along their classic   
lines2 and that not only  were its      
builders the ablest and most learned men
 of all ages1 but that  their           
descendants1 those who live beneath     
these roofs1 are the wisest1  the most  
cultured1 and the most artistic men and 
women of their time4    ,to me1         
moreover1 the ,city is never evanescent 
nor unreal2 never like a  house built   
upon the sands4 ,it is1 when ,i look at 
it in amazed delight1  not only entirely
 genuine1 but firm and solid as the     
marble which it  resembles4 ,it is too  
vast1 and the elements of atmosphere1   
perspective  and proportion1 enter too  

largely into its ensemble to make it    
appear  other than genuine4 ,when1 for  
instance1 you stand in ,athens1 near the
  ,parthenon1 and your eye falls on a   
broken column at your feet1 you see     
that it is marble1 and you know that it 
is heavy4 ,but without this  sample     
stone in the foreground1 and your       
knowledge of the character and  quality 
of the material1 the whole temple is to 
you1 from where you  look1 only a film  
of light1 now ivory1 now alabaster1 now 
lost in  purple shadows4 ,here1 about   
the ,white ,city1 there is no broken    
column as  an eye test1 there are only  
superb faades1 reaching skyward1 and    
great  stretches of columns and arches1 
relieved by gilded domes and sculptured 
frieze4 ,they are never close to you--no
 comprehensive view is possible  nearer 
than two hundred feet1 and who can tell 
8staff0 from marble at  that            
distance--but far away1 across the      
shimmer of the ,lagoon1 or over  the    
massing of foliage or clustered roofs4  

,illustration3 ,,dome ,,of              
,,horticultural ,,building ,,at ,,night4
    ,there is1 in addition to all this  
element of reality1 a reality which     
every one must feel for himself1 still  
another charm--an undefinable  quality  
that constantly surprises and delights  
you4 ,to this is united a  majestic     
picturesqueness investing these superb  
palaces and royal  gardens with a       
distinction never attained by any of    
their predecessors4  ,this does not seem
 to be due so much to colossal          
proportions nor to the  never-ending    
series of buildings piled one behind the
 other1 as to the  skill shown by       
architects    ,illustration3 ,,in ,,old 
,,vienna4    and landscape gardeners in 
the general plan4 ,especially is this   
charm  felt in the absence of           
rectangular lines of construction2 in   
the winding  in and out of the lagoons2 
in the neglected fringing of untrimmed  
foliage skirting the water's edge2 in   
the half submerged bits of islands      

where the ducks plume their feathers2 in
 the informal formality of great        
massing of plants2 in the dotting of    
broad stretches of gray-green water     
with gay-colored gondolas2 and in the   
colossal proportions of superb          
decorative statues1 so that a glimpse of
 ,venice can be caught between  the     
forelegs of a huge sculptured bull1 and 
the columns of a classic  temple be     
outlined over the back of some          
water-sprayed mermaid4    ,it is easy   
while under the spell of this ,ancient  
,city to persuade myself  that in this  
their festival year1 these nobles who   
dwell here are  holding high carnival1  
with much feasting and merry-making1 and
  illuminations at night4 ,that they    
have bidden all the nations of the      
earth to join them in these gracious    
festivities lasting many months2  and   
that as an especial honor1 and for the  
delight and entertainment of  these     
distinguished guests1 they have decreed 
that a great fair shall be  held where  

may be seen many strange people from the
 uttermost parts of  the earth1 who1    
with barbaric dancing and weird music   
may depict the  manners and customs of  
their climes4 ,that this ,fair of the   
,festival ,year  shall be placed1 not   
within the lines of the ,palaces but    
outside the  walls of the ,great ,city1 
at the end of a broad highway1 rolled   
out like  a huge carpet of many colors4 
99       99       99       99       99  
,rousing myself from these reveries1 ,i 
bid ,espero good-by1 join the  throng1  
follow through the gates and so out upon
 this broad highway1 the  ,plaisance4   
,my dreams are all true4 ,along the     
crowded thoroughfare move  half the wild
 tribes of the earth--,javanese1        
,esquimaux1 natives of the  ,soudan1    
,bedouins from beyond the ,great        
,desert1 ,algerians1 ,arabs1 ,greeks1   
,armenians1 ,syrians1 and ,turks4       
,fringing each edge of this gay         
promenade  ,i find the huts of the      
,javanese and ,soudanese1 the tents of  

the ,bedouins  and ,arabs1 and the more 
pretentious booths and structures of the
  ,algerians and kindred people4 ,here1 
too1 are the quaint gateways and  open  
squares of old ,german and ,austrian    
towns2 the low-roofed1 deftly           
constructed houses of the ,japanese2 the
 intricate carvings of ,india  covering 
the booths1 and1 draping the doors of   
the ,eastern bazaars the  rich stuffs1  
rugs1 and tapestries of the ,orient4    
,near the entrance to the ,turkish      
village1 tucked away on one side of the 
highway1 just out of the rush of the    
never-ceasing throng1 and yet close     
enough to be within call1 rises the dome
 of a small ,mosque4 ,above this  a     
single1 snow-white minaret shoots up    
into the blue4    ,illustration3        
,,mosque ,,of ,,the ,,sultan ,,selim4   
,when the sun is gone there leans from a
 tiny balcony high up on this  needle of
 a minaret1 a white-robed priest4       
,suddenly above the whirl and  hurry    
there filters down through the soft     

twilight air the ,muezzin's  call for   
prayer3    8,la ,ilah ,ell-,allah       
,muhammed ,rassoul ,ell-,allah40    ,to 
me there is nothing so simple1 nothing  
so impressive1 nothing so  devout1 as a 
,muhammedan standing in the presence of 
his ,god4 ,there is a  childlike faith1 
a manly trust1 a sincere belief evinced 
and experienced  by these believers1    
that never seems to predominate in any  
other form of  religion4    ,how often1 
in a great cathedral1 do you come upon a
 figure silently  leaving the           
confessional1 and catching a full view  
of the face1 detect a  lingering trace  
of sorrow1 or anxiety1 or doubt4 ,but   
watch the faces of  these ,muhammedans1 
these poor sedan-chair carriers1 and of 
that  broad-shouldered ,arab1 who has   
been moving great boxes of unpacked     
goods  on his back all day4 ,how tired  
they all look as they enter the ,mosque1
  bowing low with reverent awe1 and     
prostrating themselves wearily to the   
pavement4 ,it is as if each penitent had

 brought his very burden within  these  
sacred precincts1 supplicating for      
relief4    ,now look1 when the silent   
service is over1 and study these same   
faces  as1 with a light-hearted spring1 
each man rises from his knees and with  
serene expression1 and calm1 restful    
eyes takes up once more the burden  of  
his life4    ,this exquisite and        
picturesque little ,mosque--it is the   
prototype of the  purest bit of ,eastern
 architecture in ,stamboul--these       
thoroughly genuine  people1 this sacred 
service--not as a necessary part of the 
,oriental  exhibit1 but as an essential1
 indispensable part of the life of the  
natives themselves--this combination of 
the genuine and the picturesque  is to  
me the true keynote of the ,great       
,exposition4      ,,ii4    ,my old and  
valued friend1 ,far-away ,moses3--,what 
a superb old ,shylock he  is2 not in the
 sense of 8three thousand ducats and for
 three months10  but in the unique      
quality of the character itself6        

,neither ,irving nor  ,booth ever       
conceived so fine and fitting a costume 
as this old man wears  every day in and 
out of his bazaar1 and along the streets
 of his  transplanted village2 a costume
 of soft material1 with an under-vest   
delicately embroidered1 the over-jacket 
a coat of brown camel's-hair  with dark 
red voluminous waist-sash and the wide  
,eastern skirts covering  his still     
sturdy legs4    ,my old and valued      
friend1 ,far-away ,moses1 ,i say1       
invited me to dinner4 ,i  have enjoyed  
this especial privilege very often in   
his own bazaar in  ,stamboul1 and the   
aroma of the ,mocha and the soothing    
qualities of his  ,narghilehs have      
haunted me ever since4 ,now1 thanks to  
his courtesy1 ,i  can enjoy them every  
day4 ,there is nothing missing in the   
surroundings  of his own bazaar here on 
the    ,illustration3 8,,far-,,away     
,,moses40    ,plaisance4 ,the walls are 
hung with the wealth of the ,east4      
,divans are  scattered about4 ,on a low 

table1 octagon-shaped and inlaid with   
mother-of-pearl and ivory1 lie yataghans
 and ,turkish arms1 embossed with       
silver and enriched with quaint design4 
,the light struggles in through  the    
small windows and half defines the odd  
interior1 quite as it does  in his shop 
along the ,bosphorus4 ,i throw myself   
upon a pile of ,eastern  rugs and begin 
adjusting the pillows in true ,oriental 
fashion4    ,the old man claps his      
hands1 and instantly1 as if rising      
through the rug  itself1 an attendant   
appears1 receives an order in ,turkish1 
and  vanishes4 ,not a gentleman1 if you 
please1 in a soiled necktie1 frayed     
shirt-front1 and hired-by-the-month     
swallow-tail coat1 but a swarthy  ,turk 
in gold-embroidered vest and the rest of
 it1 who reappears in a  flash with one 
of those exquisite squatty little tables
 that might serve  in a baby house4     
,then more clapping of hands1 and more  
,turks1 one a  gorgeous fellow in a     
solid gold jacket 7the light is dim71   

under-vest of  purple and silver1 sash  
brilliant scarlet1 and so on1 down to   
his  magnificent slippers of red        
morocco1 very much turned up at the     
toes4  ,and then an inlaid tray with two
 dainty little cups1 mere thimbles1 into
  which is poured from a long-handled   
brass pot1 sizzling hot over a  charcoal
 fire1 two mouthfuls of fragrant ,mocha4
 ,then the ,narghilehs1  with their long
 flexible tubes1 amber mouth-pieces1 and
 the bits of  burning coal1 keeping     
alight the little heap of ,turkish      
tobacco on the  top of the slender      
caraffe-shaped glass4    ,we talk of the
 old days in ,stamboul and of the       
morning we spent at the  ,bath1 where ,i
 was parboiled and rubbed full of holes 
by two  insufficiently clad ,greeks2 and
 then of the festival night at ,saint   
,sophia when1 as a member of his        
household1 ,i entered the ,sacred       
,mosque  barefooted and befezzed4 ,later
 on a lighted lantern is brought in1 and
  we follow another gorgeous slave into 

the mysteries of my host's private      
apartments where a repast of kebabs and 
boiled rice is served4    ,illustration3
 ,,doorway ,,of ,,the ,,transportation  
,,building4    ,after dinner other      
lights are fixed against the walls of an
 outer court1  and a dozen or more of   
his retinue--,far-away and his confrre1 
,roberto  ,levy1 count five hundred and 
fifty followers--with weird song and    
gesture1 throw themselves with perfect  
abandon into one of their wild  native  
dances4    ,this small army of the      
,faithful eat1 sleep1 and dress         
precisely as they  do at home4 ,the     
,bedouin women huddle in the dust       
outside their tents1  baking their      
wafer-like bread over rounded pans      
covering heaps of live  coals2 the men  
smoke and lounge on the mats2 the       
dancing-girls from  ,damascus and       
,syria1 in the intervals of their stage 
work1 shut  themselves up in their      
curtain-closed rooms1 attended only by  
their  women4    ,they allow no         

difference in their surroundings or     
atmosphere2 there is  no hurry nor rush 
nor noise2 only the indolent1 lazy life 
of the ,east4  ,had the genie of the    
lamp been summoned from space to work   
these  marvellous effects it could not  
have been better done4    ,but the      
picturesque does not end with the       
,turkish village1 its mosques1  bazaars1
 caf1 theatre1 and attendants4 ,enter   
the gates leading to the  little toy    
houses of the ,javanese1 and stop for a 
moment at one of the  doors4 ,half a    
dozen of the dancing-girls are cuddled  
together in the  middle of the floor4   
,there is no light except through the   
open door4  ,some are smoking           
cigarettes4 ,one is painting the        
eyebrows of a comrade1  who in turn is  
combing the other's hair4 ,two are      
stretched out on either  side of the    
entrance lolling lazily4 ,they smile    
courteously1 and when  one rises and    
trips away to the next miniature house1 
she drops you a  slight deferential     

courtesy as she passes--not to attract  
your  attention1 but as challenging     
permission--to cross in front of you4   
,if you1 an admirer of ,western         
civilization1 offer some one of its     
subjects a piece of silver1 you receive 
either the customary gruff  thanks or   
the incredulous stare4 ,if you have     
doubts about the courtesy1  the         
refinement1 and the charm of the        
semi-barbarous ,east1 try the same      
experiment on one of these little       
,javanese maidens1 fully of age and yet 
hardly as tall as the curly haired      
daughter that you hold in your arms4    
,when you tender her the coin she walks 
to where you stand without the          
slightest trace of either forwardness or
 timidity1 drops on one  knee--clasping 
the money in her right hand--crosses    
both arms over her  bosom1 places the   
piece on her head1 and then bowing low1 
her face  toward you1 retraces her steps
 into the bungalow4 ,with each gesture  
she  intends some graceful service--she 

is your slave--her heart is always      
true1 her head in subjection4 ,it is    
only her way of saying thank  you--this 
poor little half-clad1 half-civilized1  
,javanese maid2 but it  is so           
gracefully1 so charmingly done1 it is so
 nave and sincere1 that  if you leave   
the door of her hut with a cent in your 
pocket you should  be sentenced to spend
 a month in her village to learn better 
manners4    ,as you are still in search 
of the picturesque1 follow that         
barefooted  ,arab with fez and long     
yellow gown1 who has just saluted with  
such  respect and humility ,roberto     
,levy 7chief commissioner of all these  
,muhammedan people71 touching his heart 
and lips and forehead after the  manner 
of his race4 ,he has some complaint to  
make or grievance to right4  ,you note  
that the man enters a gate farther down 
,illustration3 ,,in ,,cairo ,,street4   
on the ,plaisance1 above which you catch
 the minaret of another mosque1         
overlooking 8,a ,street in ,cairo40     

,later on you discover that this        
barefooted ,arab drives a camel along   
this tortuous thoroughfare4    ,here    
again the quality of the picturesque is 
inseparably joined to the  quality of   
the genuine4 ,the street itself is a    
fair reproduction of the  original1 with
 its overhanging latticed windows1 iron 
gratings and  decorations2 but the      
motley crowd that throngs through its   
crookedness  is the native element      
itself4 ,camels with the dust of the    
desert ground  into their scarred hides1
 every knot in the harness a guarantee  
of long  service2 donkeys and donkey    
boys2 women closely veiled or wearing   
the  burgi--a wooden spool bound over   
the nose1 with a heavy fringe of  black 
thread falling below the chin2 rows of  
idlers in dirty garments  sprawled along
 the edges of the houses hugging the    
shade2 ,nubians1 black  as ink1 in white
 burnoose and long gowns2 pedlers1      
street venders in odd  ,eastern         
costumes1 and scattered throughout the  

curious throng the man  from ,maine and 
the gentleman from ,texas4              
,everywhere you find the same element of
 the picturesque1 everywhere is  evident
 the same quality of the genuine4 ,to   
accomplish these results  space and time
 seem to have been annihilated4    8,it 
is ,i who went up into the ,soudan      
country and brought out this  family1   
come in and see10 says a dark1          
black-bearded man1 who might have  the  
blood of all the races of the ,east in  
his veins4    ,i thrust my head and     
shoulder through a narrow slit in the   
hut1 shaped  like an inverted teacup1   
and am confronted by a girl wearing a   
single  garment of coarse cotton cloth1 
such as would cover a sack of salt4     
,behind her1 squatting on the           
earth-floor1 sit her husband and father1
  beating rude drums covered with skins4
 ,the girl instantly advances1  lifts up
 her face and gazing into mine with     
half-closed eyes1 gives  herself up with
 slow movement of her feet to that      

peculiar spell which  seems to possess  
all ,eastern women when under the       
influence of the  dance4 ,the inmates   
are all uncleanly1 unkempt1 and1 but for
 the earnest  face and fawn-like eyes of
 the ,soudanese girl-wife1 forbidding   
and  repulsive4 ,of one thing1 however1 
you are sure3 had you wandered into  the
 heart of their country and entered any 
one of their huts1 you would  have found
 the exact counterpart of what is before
 you now4    ,so with the ,algerians and
 ,nubians1 the ,chinese and natives of  
,ceylon1  ,dahomey and the ,south ,sea  
,islands1 the ,esquimaux even down to   
the  glass-blowers from ,murano3 they   
are not a part of a show--they are the  
people themselves4 ,how long this       
unconscious individuality will continue 
and what degrading effects our          
civilization will produce on these      
strangers is a question which cannot be 
settled until the ,fair is over4    ,it 
is safe to say that never in the lives  
of the present generation will  these   

things be repeated4 ,before the summer  
comes again the beautiful  city will    
fade away like the frost-work of an     
early morning4 ,this broad  highway1    
teeming with life and color1 will be but
 a neglected waste1  while the lovely   
lagoons will once more yield themselves 
up to the  ever-encroaching lake4 ,every
 square foot of the wide inclosure      
should be  sacred to every ,american1 as
 marking for them and for the           
intelligent  world a point in           
civilization never before reached by any
 people2 as  marking the dawn of a new  
era in the progress of the ,republic2 a 
new  light in architecture1 in mural    
decoration and sculpture2 in the weaving
  of exquisite stuffs1 in the glazing of
 porcelains1 the making of glass  and   
perfecting of all the lesser arts that  
serve to beautify our homes  and gladden
 our lives2 and in the proving1 by      
comparison with the best  work of the   
other nations of earth1 the high        
standard reached by our own  artists1   

and the fixing forever of that position 
in the art of the  world4               
,illustration