,an ,art-,lover's ,guide to the         
,exposition  ,explanations of the       
,architecture1 ,sculpture and ,mural    
,paintings1 ,with a ,guide for ,study in
 the ,art ,gallery    ,by ,sheldon      
,cheney    ,berkeley ,at the ,sign of   
the ,berkeley ,oak #aiae    ,copyright  
#aiae by ,sheldon ,cheney    ,printed   
and ,engraved by ,sunset ,publishing    
,house ,san ,francisco    ,contents     
,foreword ,the ,architecture and ,art as
 a ,whole ,court of ,abundance ,court of
 the ,universe ,court of the ,four      
,seasons ,court of ,palms and ,court of 
,flowers ,tower of ,jewels1 and         
,fountain of ,energy ,palaces ,facing   
the ,avenue of ,palms ,palaces ,facing  
the ,marina1 and the ,column of         
,progress ,palace of ,machinery ,south  
,gardens1 ,festival ,hall1 and ,palace  
of ,horticulture ,palace of ,fine ,arts 
,outdoor ,gallery of ,sculpture ,fine   
,arts ,galleries ,state and ,foreign    
,buildings1 and ,scattered ,art         
,exhibits ,index    ,foreword    ,this  

handbook is designed to furnish the     
information necessary for intelligent   
appreciation of the purely artistic     
features of the ,exposition4 ,it is     
planned first to explain the symbolism  
of the architecture1 sculpture and      
painting2 and second1 to point out the  
special qualities that give each        
artistic unit its individual appeal4 ,it
 is made for the intelligent observer   
who1 having enjoyed the purely aesthetic
 impression of the various works of art1
 feels a legitimate curiosity about     
their meaning4  ,everything possible has
 been done to make the volume a guide   
rather than merely a general treatise4  
,the chapter groupings are the most     
obviously serviceable ones4 ,running    
heads will be found at the tops of the  
pages1 and the sub-headings and         
catch-titles in each chapter are        
designed to make reference4 to          
individual features as easy as possible4
 ,a complete index is added at the end4 
,purely destructive criticism and       

ridicule have been carefully avoided4   
,but if the writer did not pretend to a 
power of artistic discrimination which  
is lacking in the average layman who has
 not specialized in art and             
architecture1 there would be little     
excuse for preparing the guide4 ,the    
praise and criticism alike are such1 it 
is hoped1 as will aid the less practiced
 eye to see new beauties or to establish
 sounder standards of judgment4         
,acknowledgment is made to the official 
,exposition press bureau for courtesies 
received1 and to those artists who have 
supplied information about their own    
work4 ,for obvious reasons no material  
has been accepted direct from articles  
and books already published4 ,if certain
 explanations of the symbolism seem     
familiar1 it is only because all        
wordings of the ideas echo the artists' 
interpretations as given out by the     
press bureau4  ,acknowledgment is due   
also to the ,cardinell-,vincent         
,company1 official photographers1 since 

most of the illustrations are from their
 prints4  ,s4 ,c4    ,the ,architecture 
and ,art as a ,whole    ,in the art of  
the ,exposition the great underlying    
theme is that of achievement4 ,the      
,exposition is being held to celebrate  
the building of the ,panama ,canal1 and 
to exhibit to the world evidences of the
 progress of civilization in the decade 
since the last great exposition-a period
 among the richest in the history of    
civilization4 ,so the ideas of victory1 
achievement1 progress and aspiration are
 expressed again and again3 in the      
architecture with its triumphal arches  
and aspiring towers2 in the sculpture   
that brings ,east and ,west face to     
face1 and that shows youth rising with  
the morning sun1 eager and unafraid2 and
 in the mural paintings that portray the
 march of civilization1 and that tell   
the story of the latest and greatest of 
mankind's triumphs over nature4 ,but    
perhaps the most significant thing of   
all is the wonderfully harmonious and   

unified effect of the whole1 that       
testifies so splendidly to the perfect  
co-operation of ,american architects1   
sculptors and painters4  ,the dominant  
note artistically is harmony4 ,at no    
other exposition have the buildings     
seemed to hold together so well2 and at 
no other has there been the same perfect
 unity of artistic impression4 ,the     
,chicago ,exposition of #ahic focused   
the artistic expression of the nation at
 that time4 ,it brought about the first 
great awakening of the country in       
artistic matters1 and it practically    
revolutionized ,american architecture4  
,the ,st4 ,louis ,exposition of #aijd1  
while less unified in plan1 gave another
 great stimulus to architecture1 and    
especially to sculpture4 ,but the       
,panama-,pacific ,exposition should have
 a more far-reaching effect than either 
of these1 because its great lesson is   
not in the field of any one art1 but in 
showing forth the immense value of      
coordination of all the arts in the     

achievement of a single glorious ideal4 
,the great thing here is the complete   
harmony of purpose1 of design1 and of   
color1 in the combined work of          
architects1 sculptors1 painters1 and    
landscape gardeners4 ,the sensible plan 
that results in perfect convenience in  
getting about1 the clothing of this plan
 in noble and fitting architectural     
forms1 the use of sculpture and painting
 as an integral part of the             
architectural scheme1 the tying in of   
buildings to site with appropriate      
planting1 and the pulling together of   
the whole composition with harmonious   
color-these are the things that will    
leave their impress on ,american art for
 all time to come4 ,if each student of  
the art of the ,exposition takes home   
with him an understanding of the value  
of this synthesis1 of this co-ordination
 of effort1 he will have the key to the 
,exposition's most valuable heritage to 
the ,american people4  ,physically there
 are three distinct parts to the        

,exposition3 the main group of exhibit  
palaces1 the ,zone1 and the state and   
foreign buildings4 ,the art-lover will  
be concerned almost entirely with the   
first of these2 for artistically the    
,zone expresses anarchy1 and the state  
and foreign pavilions are given over    
almost entirely to social and commercial
 interests4  ,architecture  ,the        
architecture of the central group of    
palaces and courts is a notable         
departure from that of most of the      
expositions of the past4 ,there are none
 of the over decorated facades1 none of 
the bizarre experiments in radical      
styles1 and little of the riot of       
extraneous ornament1 that have been     
characteristic of typical exposition    
architecture4 ,the whole spirit here is 
one of seriousness1 of dignity1 of      
permanency4 ,the effects are obtained by
 the use of long unbroken lines1 blank  
wall spaces1 perfect proportioning1 and 
a restrained hand in decoration4 ,color 
alone is relied upon to add the spirit  

of gayety without which the architecture
 might be too somber for its joyous     
purpose4  ,the ground plan is remarkable
 for its perfect symmetry4 ,on the main 
east and west axis are grouped eight    
palaces1 about three interior courts4   
,at the east end the axis is terminated 
by the ,palace of ,machinery1 which cuts
 off the main group from the ,zone4 ,on 
the west the axis is terminated by the  
,fine ,arts ,palace1 which separates the
 central group from the state and       
foreign buildings4 ,the main cross axis 
is terminated at the south by the ,tower
 of ,jewels and the ,fountain of        
,energy1 and at the north by the ,column
 of ,progress on the ,marina4 ,the two  
minor cross axes end at the south in the
 ,horticulture ,palace and ,festival    
,hall-the two great domed structures    
that naturally would separate themselves
 from the main plan and at the north    
these axes open on the ,marina and the  
beautiful bay view4  ,this plan is      
admirably compact4 ,it has the effect of

 a walled city1 giving a sense of       
oneness from without1 and a sense of    
shelter from within4 ,the plan          
eliminated the usual great distances    
between exhibit halls1 at the same time 
providing protection against the winds  
that occasionally sweep over the        
,exposition area4 ,more important still1
 the throwing of the finer architectural
 effects into the inner courts allowed  
freedom in individual expression4 ,in   
the court system the architects obtained
 unity with great variety of style1 and 
harmony without monotony4  ,the plan was
 worked out by a commission of          
architects4 ,but the greatest credit    
must be given to ,edward ,h4 ,bennett1  
who first conceived the walled-city     
idea1 and who brought his long          
experience in city-planning to serve in 
determining the best method of utilizing
 the magnificent site4  ,the style of   
architecture cannot be summed up in any 
one name4 ,practically every historic   
style has been drawn upon1 but there are

 very few direct copies from older      
buildings4 ,the old forms have been used
 with new freedom1 and occasionally with
 very marked originality4 ,as one looks 
down on the whole group of buildings1   
the ,oriental feeling dominates1 due to 
the many ,byzantine domes4 ,in the      
courts and facades the ,renaissance     
influence is strongest1 usually         
,italian1 occasionally ,spanish4 ,even  
where the classic ,greek and ,roman     
elements are used1 there is generally a 
feeling of ,renaissance freedom in the  
decoration4 ,one court is in a wonderful
 new sort of ,spanish ,gothic1 perfectly
 befitting ,california4 ,in the styles  
of architecture1 as in the symbolism of 
painting and sculpture and in the       
exhibits1 one feels that the ,east and  
,west have met1 with a new fusion of    
national ideals and forms4  ,the        
material used in the buildings is a     
composition1 partaking of the nature of 
both plaster and concrete1 made in      
imitation of ,travertine1 a much-prized 

building marble of ,italy4 ,this        
composition has the warm ochre tone and 
porous texture of the original stone1   
thus avoiding the unpleasant smoothness 
and glare which characterize stucco1 the
 usual ,exposition material4  ,sculpture
  ,in one way more than any other1 the  
sculpture here surpasses that of other  
expositions3 it is an integral part of  
the larger artistic conception4 ,it not 
only tells its individual stories freely
 and beautifully1 but it fits perfectly 
into the architectural scheme1 adding   
the decorative touch and the human      
element without which the architecture  
would seem bare4  ,the late ,karl       
,bitter was chief of the department of  
sculpture1 and although there is no     
single example of his work on the       
grounds1 it was he who1 more than any   
other1 insisted upon a close            
relationship between the architecture   
and the sculpture4 ,a4 ,stirling ,calder
 was acting chief1 and he had charge of 
the actual work of enlarging the models 

of the various groups and placing each  
one properly4  ,the material of the     
sculptures is the same as that of the   
buildings1 ,travertine1 thus adding to  
the close relationship of the two4      
,mural ,paintings  ,the mural paintings 
as a whole are not so fine as either the
 architecture or the sculpture4 ,the    
reason can be traced perhaps to the fact
 that painting does not readily bow to  
architectural limitations4 ,in this case
 the artists1 with the exception of     
,frank ,brangwyn1 who painted the       
canvases for the ,court of ,abundance1  
were limited to a palette of five       
colors1 in order that the panels should 
harmonize with the larger color scheme4 
,color  ,never before was there an      
exposition in which color played such a 
part4 ,here for the first time a        
director of color was placed above      
architect and sculptor and painter4     
,jules ,guerin1 chief of color          
decoration1 has said that he went to    
work just as a painter starts to lay out

 a great picture1 establishing the warm 
buff of the building walls as a ground  
tone1 and considering each dome or tower
 or portal as a detail which should add 
its brilliant or subdued note to the    
color harmony4 ,not only do the         
paintings and sculpture take proper     
place in the tone scheme1 but every bit 
of planting1 every strip of lawn and    
every bed of flowers or shrubs1 has its 
duty to perform as color accent or foil4
 ,even the gravel of the walks was      
especially chosen to shade in with the  
general plan4  ,as seen from the heights
 above the ,exposition-and no visitor   
should go away without seeing this      
view-the grounds have the appearance of 
a great ,oriental rug4 ,the background  
color is warm buff1 with various shades 
of dull red against it1 accented by     
domes and columns of pale green1 with   
occasional touches of blue and pink to  
heighten the effect4  ,in the courts the
 columns and outer walls are in the     
buff1 or old ivory1 tone1 while the     

walls inside the colonnades have a      
lining color of ,pompeian red2 the      
ceilings are generally cerulean blue2   
the cornices are touched with orange1   
blue and gold2 and occasional columns of
 imitation ,siena marble1 and bronzed   
statues1 set off the whole4  ,in        
connection with the color scheme1 great 
credit must be given to ,john ,mc,laren1
 chief of the department of landscape   
gardening1 who has worked so            
successfully in co-operation with       
architects and color director4 ,the     
,exposition is built almost entirely on 
filled ground1 just reclaimed from the  
bay2 and it was a colossal task to set  
out the hundreds of thousands of        
flowers1 shrubs and trees which now make
 the gardens seem permanent1 and which  
set off the architecture so perfectly4  
,lighting  ,when one's soul has been    
drenched all day in the beauty of courts
 and palaces and statues and paintings1 
dusk is likely to bring welcome rest2   
but when the lights begin to appear     

there comes a new experience-a world    
made over1 and yet quite as beautiful as
 the old4 ,walls are lost where least   
interesting1 bits of architecture are   
brought out in relief against the velvet
 sky1 and sculptures take on a new      
softness and loveliness of form4 ,under 
the wonderfully developed system of     
indirect illumination1 no naked light is
 seen by the eye2 only the soft         
reflected glow1 intense when desired1   
but never glaring4 ,if this lighting is 
not in itself an art1 it is at least the
 informing spirit that turns prose to   
poetry1 or the instrumental             
accompaniment without which the voice of
 the artist would be but half heard4    
,too much credit cannot be given to the 
lighting wizard of the ,exposition1 ,w4 
,d',arcy ,ryan4    ,the ,court of       
,abundance    ,the ,court of ,abundance 
is the most original1 and perhaps the   
most consistently beautiful1 of all the 
,exposition courts4 ,no other is so     
clearly complete in itself1 without the 

intrusion of features from surrounding  
buildings and courts4 ,no other has the 
same effect of cloistered seclusion     
partly because each of the others is    
open on one side4 ,and certainly no     
other indicates so clearly the touch of 
the artist1 of the poet-architect1 from 
the organic structural plan to the      
finest bit of detail4 ,even the massive 
central fountain1 though conceived in   
such different spirit1 has no power to  
dispel the almost ethereal charm that   
hovers over the place4  ,the distinctive
 note of the court is one of exquisite  
richness4 ,as one enters from any side  
the impression grows that this is the   
most decorative of all the courts2 and  
yet one is not conscious of any         
individual bit of decoration as such4   
,everything fits perfectly3 arches1     
tower1 cornices1 finials1 statues1      
planting-it all goes to enrich the one  
impression4 ,someone has said that the  
court is not architecture1 but carving2 
and that suggests perfectly the         

decorative wealth of the composition4   
,architecture  ,the style of            
architecture has been guessed at as     
everything from ,romanesque and ,gothic 
to ,flamboyant ,renaissance and         
,moorish4 ,the truth is that the court  
is a thoroughly original conception2 and
 the architect has clothed his          
pre-conceived design in forms that he   
has borrowed from all these styles as   
they happened to suit his artistic      
purpose4 ,the spirit of the court is    
clearly ,gothic1 due to the accentuation
 of the vertical lines-and one will note
 how the slender cypresses help the     
architecture to convey this impression4 
,the rounded arches1 modified in feeling
 by the decorative pendent lanterns1    
hint of the awakening of the            
,renaissance period in ,spain1 during   
the ,fourteenth and ,fifteenth          
,centuries1 when the vertical lines1 and
 decorative leaf and other symbolic     
ornaments of the severer ,gothic1 were  
so charmingly combined with classic     

motives4  ,the architecture here is     
inspiring as a symbol of the ,american  
melting-pot4 ,it is a distinct and      
original evolution1 recalling the great 
arts of ,europe1 and yet eluding        
classification4 ,the court shows that   
the designer was master of the styles of
 the past1 but refused to be a slave to 
them2 at the same time he had an        
original conception but did not let it  
run into the blatant and bizarre4 ,it is
 from such fusions of individual genius 
with the traditions of the past that a  
distinctive ,american architecture is   
most likely to flower4  ,the tower is a 
magnificent bit of architectural design4
 ,it is massive and yet delicate4 ,it   
dominates the court1 and yet it fits    
perfectly into the cloister4 ,the rich  
sculpture is so much a part of the      
decorative scheme that there is no      
impression of the structure having been 
ornamented4 ,one must search long in the
 histories of architecture to find a    
tower more satisfying4  ,the architect  

who designed the ,court of ,abundance is
 ,louis ,christian ,mullgardt1 one of   
the two most original geniuses among    
,california's architects4  ,it is well  
to enjoy this court at first for its    
beauty alone1 without regard to its rich
 symbolism4 ,one who has thus considered
 it1 merely as a delight to the eye1    
usually is surprised to find that it has
 a deeper underlying meaning than any of
 the other courts4 ,the present name1   
,court of ,abundance1 is not the        
original one4 ,the architect conceived  
it as ,the ,court of ,the ,ages4 ,it is 
said that the ,exposition directors1 for
 the rather foolish reason that a ,court
 of the ,ages would not fit into the    
scheme of a strictly contemporaneous    
exposition1 re-christened it ,the ,court
 of ,abundance4 ,but it is the former   
name that sums up the thought behind the
 decorative features4  ,the underlying  
idea is that of evolution4 ,the tower   
sculptures1 which will be more fully    
explained in following paragraphs1      

represent successive ages in the        
development of man-the ,stone ,age1 the 
,mediaeval ,age1 and the ,present ,age4 
,the decoration of the cloisters may be 
taken as symbolizing the evolution of   
primitive man from the lower forms of   
life4 ,thus the ornamental garlands that
 run up the sides of the arches are of  
seaweed1 while other parts of the       
decoration show crabs1 lobsters and     
other of the lower forms of sea life4   
,higher up the ornament includes        
conventionalized lilies suggestive of   
higher plant life4 ,and surmounting the 
colonnade1 one over each pier1 are the  
repeated figures of primitive man and   
primitive woman4 ,it is at this height  
that the tower sculptures begin1        
carrying on the story of man up to the  
present age4 ,at a level between the    
,stone ,age group and the ,mediaeval    
,age is a row of cocks1 symbols of the  
rise of ,christianity4 ,perhaps the     
whole aspiring feeling of the court is  
meant to further suggest the upward rise

 of man-but after all1 the purely       
sensuous beauty of the architecture is  
sufficient to warrant its being1 without
 any straining after symbolism4         
,sculpture  ,groups on the ,tower4 ,the 
three main groups typify the rise of    
man1 and especially the rise of man's   
civilization through religion4 ,the     
lowest group1 over the main arch1 is    
called ,the ,stone ,age4 ,along the base
 are prehistoric monsters1 and above are
 figures representing various phases of 
primitive life1 as a man strangling an  
animal with his hands1 and a figure that
 may suggest the rude beginnings of art 
or industry4 ,the heads indicate a      
period of evolution when man was not    
very different from the ape2 but the    
central figures suggest the development 
of family life1 and a new outlook and a 
seeking for something higher4  ,the     
middle group1 ,the ,mediaeval ,age1     
shows an armored figure with sword and  
shield1 a crusader perhaps1 with the    
force of religion symbolized in the     

priest or monk at one side1 and the     
force of arms suggested by the archer at
 the other1 these being the two forces  
by which man was rising in that age4    
,the third and highest group represents 
,the ,spirit of the ,present ,age       
enthroned4 ,at one side a child holds   
the book of learning1 while at the other
 a child holds the wheel of industry4   
,the group also carries inevitably a    
suggestion of motherhood4  ,flanking the
 middle group are two figures1 in which 
the whole idea of human evolution is    
suggested by a modern man and woman     
outgrowing their old selves4 ,on the    
east and west faces of the tower are    
figures representing ,thought4  ,all the
 sculpture on the tower is by ,chester  
,beach4  ,figures ,surmounting          
,colonnade4 ,two figures of ,the        
,primitive ,man and one of ,the         
,primitive ,woman are repeated above the
 cloister all around the court4 ,the    
woman carries a child on her back1 one  
man is feeding a pelican1 and the other 

is a hunter returning with a club in one
 hand and his quarry in the other4      
,these figures are remarkably well      
suited to their purpose1 balancing one  
another exactly2 they are so much a part
 of the decorative scheme1 indeed1 that 
the average person is likely to overlook
 their merits as individual statues4    
,albert ,weinert was the sculptor4  ,the
 ,water ,sprites4 ,at the tower side of 
the court1 flanking the stairway that   
leads to the archway under the tower1   
are two free-standing monuments that    
were designed as fountains4 ,the        
original plan called for cascades from  
below the ,stone ,age group on the tower
 to these monuments4 ,although the      
elimination of this feature made the    
court more simple and satisfying as a   
whole1 the figures of the ,water        
,sprites were left high and dry1 so that
 now there is a certain incongruity in  
their position4 ,still one may admire   
the very spirited girl archers          
surmounting the two columns1 even if    

they are apparently launching arrows at 
their sister sprites below1 instead of  
into jets of water as was intended4 ,the
 figures at the bases of the columns1   
while lacking the grace and the joyous  
verve of those above1 still are very    
decorative4 ,all are the work of ,leo   
,lentelli4  ,the ,fountain of ,earth4   
,in the large basin in the center of the
 ,court of ,abundance is ,robert        
,aitken's ,fountain of ,earth4 ,while   
plainly out of keeping with the spirit  
of the court1 this is in itself one of  
the most powerful and most interesting  
sculptural compositions at the          
,exposition4 ,it is deeply intellectual1
 and more than any other group it       
requires an explanation of the symbolism
 before one can appreciate it4  ,the    
fountain is really in two compositions4 
,the larger1 and central1 one is        
composed of a globe representing the    
earth1 with four panels of figures on   
the four sides1 representing certain of 
the incidents of life on earth1 or      

certain riddles of existence4 ,the      
secondary composition lies to the south 
of the central one1 on the same         
pedestal2 and this is divided into two  
groups by a formalized wing through the 
center4 ,the two scenes here represent  
life before and after earthly existence4
 ,the two huge arms and the wing are all
 that can be seen of ,destiny1 the force
 with which the allegorical story begins
 and ends4  ,to read the fountain in    
proper sequence1 one must start with the
 west face of the secondary group4 ,this
 represents ,the ,beginning of ,things4 
,the arm of ,destiny is calling forth   
life and points the way to the earth4   
,the three women figures next to the    
hand show the gradual awakening from    
,oblivion4 ,the adjoining two figures   
represent the kiss of life or of love1  
and the woman is holding forth to the   
earth the children created of that love4
 ,the entire group on this west face1   
considered in relation to the main      
composition1 may be taken as            

representing the peopling of the earth4 
,there is now a gap which one must pass 
over1 to reach the ,south panel of the  
central composition4 ,this gap          
represents the lost period of time      
between the peopling of the earth and   
the beginning of history4  ,the ,south  
panel of the main structure has as its  
central figure ,vanity with her         
hand-glass4 ,whether the artist intended
 it as a pessimistic commentary on all  
human life1 or not1 his series of       
episodes on earth begins and ends with  
the figure of ,vanity4 ,reading to the  
left on this same panel one sees a man  
and a woman starting the journey of life
 on earth1 apparently with suffering but
 certainly with courage perhaps for the 
sake of the children they carry4  ,the  
,west panel now shows the first of three
 incidents or problems of life on earth4
 ,this is entitled ,natural ,selection4 
,two women turn to one man who is       
clearly superior to the two men they are
 leaving4 ,the two who have been spurned

 as mates cling to the hands of the     
women even while they are turning away4 
,the ,north panel represents ,the       
,survival of the ,fittest4 ,two men are 
in combat1 the woman at the left        
evidently to be the prize of the victor4
 ,at the other side a woman tries to    
draw away one of the combatants4 ,the   
sculptor has given this group a second  
title1 ,the ,awakening of the ,war      
,spirit1 which is equally applicable4   
,the ,east panel is entitled ,the       
,lesson of ,life4 ,a young man and a    
young woman turn to each other through  
natural impulse1 while an older woman   
with the experience of life attempts to 
counsel them4 ,on the other side an old 
man restrains an impetuous youth who    
evidently would fight for the girl4     
,turning the corner now to the ,south   
panel again1 there are two figures      
representing ,lust trying to embrace a  
reluctant woman4 ,then one comes to     
,vanity once more1 and the story of life
 on earth is done4 ,again there is a    

gap1 and the scene leaves the earth for 
the unknown world after physical death4 
,the ,east face of the minor group first
 shows the figure of ,greed1 with his   
worldly goods now turned literally to a 
ball of clay in his hands1 gazing back  
at earth in puzzlement4 ,the next two   
figures show ,faith offering the hope of
 immortality 7as symbolized in the      
scarab7 as consolation to a sorrowing   
woman4 ,finally there are two figures   
sinking back into ,oblivion1 drawn by   
the hand of ,destiny4 ,thus the cycle   
from ,oblivion through life and back to 
,oblivion is completed4  ,in the same   
basin1 at the far south end1 is a figure
 of ,the ,setting ,sun4 ,this was part  
of the artist's conception of the       
,fountain of ,earth1 the relation to the
 main group being found in the          
supposition that the earth is a mass    
thrown off by the sun4 ,thus is         
emphasized the idea that the earth and  
life on earth are but a very small part 
of the wider unknown universe and life4 

,at the four corners of the main        
composition of the fountain1 separating 
the four panels1 are ,hermae1 terminal  
pillars such as the ,greeks and ,romans 
were fond of1 decorated with the head of
 ,hermes1 god of boundaries4  ,having   
worked out the story1 it is well to go  
back to appreciate the purely aesthetic 
qualities of the fountain4 ,note        
especially the feeling of strength in   
the figures1 the firm modeling1 and the 
fine way in which the figures are       
grouped4 ,the composition of the west   
face of the minor monument is especially
 fine1 and the very graceful lines here 
make an intimate appeal that is not     
evident in some of the other groups4    
,the whole monument is austere and      
strongly compelling rather than         
intimately charming4 ,if it is the first
 duty of art to make people think1 this 
is the most successful bit of sculpture 
on the grounds4  ,mural ,paintings  ,the
 mural paintings in1 the ,court of      
,abundance consist of eight panels by   

,frank ,brangwyn1 perhaps the greatest  
living mural decorator1 placed in the   
four corners of the cloister4 ,though   
not entirely in key with the color      
scheme and not an integral part of the  
court as a whole1 these are distinctly  
the works of a master4 ,ultra-learned   
critics will tell you that they fail as 
decorations1 since they are interesting 
as individual pictures rather than as   
panels heightening the architectural    
charm4 ,but their placing shows clearly 
that there was no intention that they   
should appear as part of the            
architectural scheme4 ,it is better to  
accept them as pictures1 forgetting the 
set standards by which one ordinarily   
judges mural painting4  ,the eight      
paintings represent the elements3 two   
panels each for ,fire1 ,earth1 ,air and 
,water4 ,there are no conventional      
figures here personifying the elements1 
but scenes from the life of intensely   
human people1 typifying the uses to     
which man has put the elements4  ,fire4 

,beginning on the tower side of the     
court1 at the northeast corner1 are the 
two panels representing ,fire4 ,the one 
on the north wall is called ,primitive  
,fire4 ,a group of figures surround a   
fire1 some nursing it and some holding  
out their hands to the heat1 while a man
 at the back brings fagots4 ,note the   
color accents in the robes of the three 
standing figures4  ,industrial ,fire1 on
 the east wall1 represents the bringing 
of fire into the service of man4 ,in    
some particulars this is among the      
finest of the paintings1 but the        
transverse cloud of smoke seems to break
 it awkwardly4  ,earth is represented in
 the two panels in the northwest corner4
 ,the one on the north wall is entitled 
,the ,fruit ,pickers1 typifying the     
wealth of products that man obtains from
 the earth4 ,this is perhaps the richest
 of the panels1 in the profusion of     
color and of alluring form4  ,the panel 
on the west wall is ,the ,dancing of the
 ,grapes1 a variation of the theme of   

,the ,fruit ,pickers4 ,it tells the     
story of the grape3 above are the       
pickers and the harvesters with baskets2
 at the right two figures dancing to    
crush the juices from the grapes2 and in
 the foreground a group with the        
finished wine4 ,the confusion of figures
 at first is puzzling2 but viewed simply
 as a spotting of bright colors there is
 no finer panel among them all4 ,it is  
better to stand well back along the     
colonnade1 and forgetting the subject1  
to delight in the purely sensuous       
impression4  ,air is represented in the 
two panels in the southwest corner4 ,the
 one on the south wall is called ,the   
,hunters4 ,the theme is suggested in the
 idea of the arrows fleeing on the wings
 of the air1 and also by the flight of  
birds above4  ,the panel on the west    
wall is called ,the ,windmill4 ,note how
 the feeling of moving air is suggested 
everywhere3 in the skies at the back1 in
 the clouds and the kites1 in the trees 
and the grain-field1 in the draperies1  

and even in the figures themselves that 
are braced against the wind4 ,the       
coloring is glorious1 and the           
composition fine4 ,the disposition of   
masses of light and dark is notable the 
dark figures grouped against the golden 
grain1 and the gold-brown windmill      
against the dark sky4 ,no panel in the  
grounds will better repay intensive     
study4  ,water is represented in the    
panels of the southwest corner of the   
court4 ,the one on the south wall is    
called ,the ,net1 and typifies the      
wealth that man draws from the water4 ,a
 group of fishermen are hauling in a    
net1 and carriers bring baskets at the  
back4  ,the ,fountain1 the panel on the 
east wall1 shows a group of people who  
have come to fill their jars at a       
spring4 ,the colors here are softer1    
though quite as rich as elsewhere4 ,the 
lower half of the painting is1 indeed1  
like a richly colored mosaic4  ,after   
examining ,the ,fountain at close range 
it is well to step back to the middle of

 this south corridor4 ,look first at    
,the ,windmill and then turn to look    
again at ,the ,fountain4 ,note1 how1    
when the subjects are once understood1  
the great distance increases rather than
 decreases the charm of the paintings4  
,note especially how beautiful each one 
is when considered merely as a pattern  
of color4 ,these two panels1 if not the 
finest of all1 at least must take rank  
among the best three or four4  ,the     
,north ,court of ,abundance  ,passing   
under the tower from the ,court of      
,abundance one comes out in the little  
north court that is conceived in the    
same spirit1 and which likewise is      
dominated by the ,mullgardt tower4 ,the 
architecture here is like an echo of    
that of the main court1 the decorated   
spaces alternating with bare spaces4    
,the tower sculptures are all repeated  
on this side4 ,the only sculpture within
 the north court is ,sherry ,fry's      
personification of ,aquatic ,life4 ,the 
statue is of a heavy sort that should be

 anywhere but in this place of ethereal 
mood and exquisite detailed workmanship4
 ,blot out the background and you can   
see that the figure has a certain solid 
grace4 ,but if designed for this court  
it fails of its decorative purpose4     
,court of the ,universe    ,the ,court  
of the ,universe is the most magnificent
 of the courts4 ,considering the many   
units-the noble arches1 the long        
colonnades with their corner pavilions1 
the sunken garden with its fountains and
 decorative sculpture1 and the vista to 
the ,column of ,progress and the        
,marina-it is by far the richest in     
artistic interest4 ,but is it so        
imposing1 so vast1 that it necessarily  
lacks the sense of quiet restfulness and
 intimacy of appeal of the smaller      
courts4 ,it is in a sense the ,civic    
,center of the great ,exposition model  
city1 and as such it offers many        
suggestions of wise planning-and one or 
two of poor planning1 as in the case of 
the obtrusive band-stand4  ,the meaning 

of the court is to be found in the      
symbolism of the groups surmounting the 
two triumphal arches-the ,nations of the
 ,east meeting the ,nations of the      
,west4 ,with the opening of the ,panama 
,canal the peoples of the universe have 
met at last2 ,west faces ,east on this  
shore of the ,pacific4 ,the idea is     
finely expressed in the lines by ,walt  
,whitman1 inscribed on the west arch1 in
 which the spirit of the ,aryan race1   
having traveled this far1 is supposed to
 speak as she gazes westward to ,asia1  
the house of maternity1 her original    
home3     ,facing west from             
,california's shores1    ,inquiring1    
tireless1 seeking what is yet unfound1  
,i1 a child1 very old1 over waves1      
towards the house       of maternity1   
the land of migrations1 look afar1      
,look off the shores of my ,western     
,sea1       the circle almost circled4  
,variations of this theme may be found  
in the murals under the arches1 and in  
those under the ,tower of ,jewels near  

by4 ,other universal themes are treated 
in the ,fountains of the ,rising ,sun   
and of the ,setting ,sun1 and in ,the   
,elements at the edge of the sunken     
garden4 ,the idea of achievement1 of    
victory in conquering the universe1 is  
also suggested in the triumphal arches4 
,architecture  ,the style of            
architecture is in general ,roman2      
though1 as is true almost throughout the
 ,exposition buildings1 there is an     
admixture of ,renaissance motives4 ,even
 on the massive ,roman arches there is a
 trace of ,moorish lightness and color  
in the green lattices2 and the domes of 
the corner pavilions are clearly        
,eastern in feeling4  ,the ,east and    
,west arches are1 of course1 reminiscent
 of the triumphal arches of the ,roman  
,conquerors4 ,a comparison with pictures
 of the famous ,arch of ,constantine and
 the ,arch of ,titus at ,rome1 will show
 how thoroughly the architects have     
mastered the feeling of the classic     
examples1 while largely modifying the   

decorative features4 ,to properly see   
either of the arches in this court as a 
single unit1 it is best to stand at the 
side of the sunken garden1 near one of  
the figures of ,the ,elements1 where the
 fountain columns do not obstruct the   
view4  ,the long colonnade1 with its    
fine ,corinthian columns and its        
surmounting row of ,star-girls1 can best
 be appreciated when one stands facing  
north1 with back to the ,tower of       
,jewels-since the architecture of that  
was clearly conceived by another mind   
and built in a different spirit4 ,it is 
from the two corner pavilions on the    
tower side1 perhaps1 that the best      
general views of the court can be       
obtained4 ,unfortunately the attractive 
view down the straight colonnades of the
 north extension of the court is marred 
by a gaudy band pavilion1 which is quite
 out of keeping with the pervading mood 
of simple dignity4 ,the little corner   
pavilions are worthy of study alone1 as 
a graceful and unusual bit of           

architectural design4  ,the ,court of   
the ,universe was designed by ,mc,kim1  
,mead and ,white4  ,sculpture  ,the     
,court of the ,universe has more than   
its share of the best sculpture of the  
,exposition4 ,in this court more than   
anywhere else one can obtain an idea of 
the remarkable scope of the sculptured  
groups4 ,it is a good place to linger in
 if one has heretofore had pessimistic  
doubts about the ultimate flowering of  
the art of sculpture in ,america4  ,the 
,fountain of the ,rising ,sun is at the 
east end of the sunken garden4 ,its tall
 shaft is surmounted by the figure of a 
youth typifying the ,rising ,sun-a      
figure of irresistible appeal4 ,the     
morning of day and the morning of life1 
the freshness of the dawn and the       
aspiration of youth-- these things are  
remarkably suggested in the figure4     
,with head up and winged arms           
outstretched1 the youth is poised on    
tiptoe1 the weight thrown forward1 as if
 just on the point of soaring4  ,the    

,fountain of the ,setting ,sun is just  
opposite1 at the west end of the sunken 
garden4 ,the surmounting figure here1   
though officially called ,the ,setting  
,sun1 is more appropriately named       
,descending ,night-the title the artist 
has given to the bronze replica in the  
,fine ,arts gallery4 ,the closing in of 
night-that is what is so perfectly      
suggested in the relaxed body1 the      
folding-in wings1 and the remarkable    
sense of drooping that characterizes the
 whole statue4 ,there is1 too1 an       
enveloping sense of purity and sweetness
 about the figure4  ,these two statues  
which surmount the ,fountains of the    
,rising ,sun and the ,setting ,sun are  
among the most charming sculptures at   
the ,exposition4 ,they have not the     
strength of the figures of the          
,elements1 or the massive nobility and  
repose of the ,genius of ,creation1 or  
the purely modern native appeal of the  
works of ,stackpole and ,young and      
,fraser4 ,but for those of us who are   

sculpture lovers without asking why1    
they come closer to our hearts and dwell
 more intimately in our minds than any  
of these4 ,descending ,night especially 
has a sensuous charm of graceful line1 a
 maidenly loveliness1 that appeals      
irresistibly4 ,both figures are by      
,adolph ,a4 ,weinman4  ,above the higher
 basin of each fountain the column drum 
is decorated with figures in relief4    
,while the two friezes are meant to be  
decorative primarily1 the artist has    
employed in each case a symbolism in    
keeping with the crowning figure4 ,the  
frieze in the ,fountain of the ,rising  
,sun represents ,day ,triumphant4 ,the  
symbolic figures typify the awakening of
 man's finer instincts and energies at  
the call of the morning1 and the        
shrinking of the vices when the darkness
 of night gives place to the light of   
day4 ,the relief-frieze of the ,fountain
 of the ,setting ,sun is entitled ,the  
,gentle ,powers of ,night4 ,it          
represents ,descending ,night bringing  

with her the ,stars1 the ,moon-goddess1 
,dreams1 and similar beautiful things4  
,the lower basins of both fountains     
contain figures of centaurs 7a new      
sea-variety1 with fins7 holding         
sea-monsters4  ,groups surmounting      
arches4 ,the monumental groups          
surmounting the two triumphal arches are
 ,the ,nations of the ,east1 on the     
,arch of the ,rising ,sun1 and ,the     
,nations of the ,west1 on the ,arch of  
the ,setting ,sun4 ,the symbolic idea   
behind the two compositions thus placed 
facing each other1 is that of the       
nations of the ,eastern and ,western    
,hemispheres at last meeting on this    
,pacific shore4  ,the ,nations of the   
,east is made up of five mounted and    
four unmounted figures1 all typical of  
the ,orient4 ,reading from the          
spectator's left to right1 the mounted  
figures are3 #a4 an ,arab tribal chief  
on a horse2 #b4 a ,mohammedan standard  
bearer on a camel2 #c4 the ,east ,indian
 on his richly-caparisoned elephant2 #d4

 another ,mohammedan standard-bearer on 
a camel2 #e4 a ,mongolian horseman4     
,between the mounted figures are the    
following on foot3 #a4 a servant with a 
basket of fruits2 #b4 an ,arab falconer2
 #c4 a ,thibetan lama or priest2 #d4    
another servant with fruit4  ,the       
,nations of the ,west represents typical
 figures from the ,european nations     
which have helped to develop ,america1  
together with two ,american ,indians and
 an ,alaskan4 ,a central composition    
shows the ,mother of ,tomorrow and a    
surmounting group typifying the ,spirit 
of ,enterprise which has led the ,aryan 
race to conquer the ,west4 ,the figures1
 from left to right1 are3 #a4 the       
,french-,canadian 7sometimes called ,the
 ,trapper71 on horseback2 #b4 the       
,alaskan1 carrying totem poles1 on foot2
 #c4 the ,spanish-,american conqueror1  
mounted2 #d4 the ,german-,american1 on  
foot2 #e4 the ,mother of ,tomorrow1 on  
the tongue of the ox-drawn prairie      
schooner2 #f4 the ,italian-,american1 on

 foot2 #g4 the ,english-,american1      
mounted2 #h4 an ,indian squaw2 #i4 the  
,american ,indian1 mounted4 ,on top of  
the prairie schooner the ,spirit of     
,enterprise is represented by a spirited
 winged figure1 with a boy at either    
hand4  ,the way in which the two groups 
balance each other at the two ends of   
the court is worthy of study-the        
elephant of the one offset by the       
prairie schooner of the other4 ,indeed  
each feature of one is balanced in the  
other so that the two will mass against 
the sky with the same general decorative
 effect4 ,the ,nations of the ,east1    
considered as a whole1 seems the more   
satisfying group-richer in feeling1 more
 unified in design1 and more massive2 in
 short1 more monumental and therefore   
better fitted to crown the noble arch4  
,but if this fits its setting better1   
and masses against the sky more         
satisfyingly1 ,the ,nations of the ,west
 will be found on close examination to  
contain the better individual figures4  

,the ,alaskan 7unfortunately almost lost
 to view in the present placing of the  
group71 the ,canadian ,trapper1 and the 
mounted ,indian are all worthy of       
prolonged study2 and the figure of the  
,mother of ,tomorrow is one of the      
finest bits of sculpture at the         
,exposition4 ,in these figures1 and only
 slightly less so in the other figures  
of this and the opposite group1 there is
 ample evidence that the ,american      
sculptors have outgrown the traditions  
of by-gone schools and have developed a 
genuine native medium of expression4    
,the two groups are the work of ,a4     
,stirling ,calder1 ,leo ,lentelli1 and  
,frederick ,g4 ,r4 ,roth in             
collaboration4  ,figures at north and   
south of sunken garden4 ,flanking the   
stairways to the sunken garden at north 
and south are four large figures by     
,robert ,aitken1 typifying ,the         
,elements4  ,air is at the west end of  
the south stairway1 and is represented  
as a huge winged female figure putting a

 star in her hair4 ,two birds1 old-time 
symbols of the air1 complete the        
suggestion4 ,at the back a man has tied 
himself to the wings of the figure      
typifying man's effort to put to his own
 use the wings of the air4  ,earth is   
placed at the east end of the south     
stairway4 ,a huge female figure rests on
 conventionalized rocks1 and a          
formalized tree partially supports her4 
,at the back two small struggling       
figures are seen1 typifying man's       
struggle with the forces of earth4      
,water is placed at the east end of the 
north stairway4 ,the sea-god1 with his  
trident in one hand and sea-weed in the 
other1 rides on a wave1 with a dolphin  
beside him4  ,fire at the west end of   
the north stairway-is typified by the   
figure of a man in agony1 with one hand 
grasping the flame1 and with jagged     
lightning in the other1 symbolizing     
man's terror of fire as well as his     
conquering of it4 ,a salamander         
completes the main design1 while at the 

back the phoenix1 bird fabled to rise   
from fire1 helps support the figure4    
,these four figures are of the sort of  
art that is likely to turn the          
unthinking person away1 though a study  
of them will bring out new beauties with
 riper acquaintance4 ,because people    
fail to get far enough away from them to
 obtain the proper perspective1 the     
statues seem too huge1 too strong1 too  
terrible1 ever to be attractive4 ,they  
are1 it is true1 out of scale1 and thus 
mar the effect of the court to a certain
 extent4 ,but there is in them something
 of the noble and compelling strength of
 the statues of ,michael ,angelo-to whom
 the sculptor clearly owes his          
inspiration4 ,stand between the columns 
at the corner of the ,transportation    
,palace1 and you will see that the      
figure of ,fire not only is             
imaginatively conceived but is a fine   
line composition as well4 ,study of the 
other three from corresponding          
viewpoints will well repay in increased 

understanding and pleasure4  ,figures at
 east and west of sunken gardens4       
,flanking the east and west stairways   
are two groups by ,paul ,manship4 ,the  
one representing two girls dancing or   
running is called sometimes ,festivity1 
sometimes ,motion4 ,here the artist has 
welded the figures into an ornamental   
design in a way unparalleled in the work
 of other ,american sculptors4 ,note the
 finely varied outline1 the sense of    
rhythmic motion1 and the rich feeling   
that every part is decorative4 ,the     
opposite group is called ,music or      
,music and ,poetry4 ,it lacks the       
flowing grace and something of the      
richness of feeling of the other1 though
 it is more dignified4 ,there is the    
same conventionalization in treatment1  
again charming4 ,these groups are not   
for people who look for realism in art  
above all else2 but for those who care  
for the classic1 who see in             
formalization a short-cut to the        
expression of the spirit of a thing1    

there are few more appealing groups in  
the grounds4 ,the figures are repeated  
at the east and west entrances to the   
garden4  ,minor ,sculptures4 ,the       
slender ,stars along the top of the     
colonnade are the work of ,a4 ,stirling 
,calder4 ,when one remembers that this  
is the ,court of the ,universe1 they    
seem to fit in with the meaning of the  
whole1 and architecturally their        
symmetry of form fits them well for     
repetition4 ,the low relief friezes on  
the corner pavilions represent ,the     
,signs of the ,zodiac1 and are by       
,hermon ,a4 ,mac,neil4 ,a formalized    
,atlas is represented in the center1 and
 at each side are seven of his          
daughters1 the ,pleiades and the        
,hyades1 whom the gods changed into     
stars4 ,twelve of the maidens have      
plaques bearing the symbols of the      
,zodiac4 ,the frieze is well composed   
and beautifully modeled1 but the rough  
,travertine does not do it justice4 ,the
 minor sculptures on the triumphal      

arches consist of a repeated winged     
angel with sword down-turned1 by ,leo   
,lentelli2 spirited spandrels over the  
arches1 representing ,pegasus1 by       
,frederick ,g4 ,r4 ,roth2 and two       
well-adapted medallions by ,a4 ,stirling
 ,calder and ,b4 ,bufano4 ,all of these 
decorative features are repeated on both
 sides of both arches4  ,mural          
,paintings  ,the four mural paintings of
 the ,court of the ,universe1 two under 
each of the triumphal arches1 represent 
the progress of civilization from the   
old world to the ,american far ,west4   
,the two under the ,arch of the ,rising 
,sun1 at the east of the court1         
represent the nations that crossed the  
,atlantic and their ideals1 while those 
under the western arch show the march of
 the pioneers from ,new ,england to     
,california4 ,to obtain the proper      
sequence of thought the ones under the  
eastern arch should be examined first4  
,murals in ,arch of the ,rising ,sun4   
,on the south wall of the arch is a     

panel representing the nations that have
 dared to cross the ,atlantic to bring  
their civilization to ,america4 ,the    
figure farthest to the spectator's right
 represents the spirit of adventure or  
,the ,call to ,fortune4 ,then follow    
representatives of the nations1 in this 
order3 #a4 the half-savage of the lost  
,continent of ,atlantis2 #b4 the ,roman 
conqueror2 #c4 the ,spanish explorer1   
typified by a figure resembling         
,columbus2 #d4 the ,english explorer1   
resembling ,raleigh2 #e4 a priest1      
typifying the bringing of ,european     
religion to ,america2 #f4 the artist1   
bringing the arts2 and #g4 the          
workman-immigrant of today4 ,then       
follows an allegorical veiled figure1   
with hand to ear1 listening to the hopes
 and ideals of the men who are following
 the call to fortune4  ,the opposite    
panel shows what the veiled figure has  
heard-depicts the hopes and ideals that 
have led men to cross the ,atlantic4 ,at
 the far left are figures symbolizing   

,true ,hope and ,false ,hope4 ,soap     
bubbles are being scattered by ,false   
,hope1 and the third figure1 typifying  
,adventure1 tries to pick them up4 ,then
 follow the true ideals and hopes in    
this order3 #a4 ,commerce #b4           
,imaginative ,inspiration2 #c4 ,truth   
and ,beauty 7one figure72 #d4 ,religion2
 #e4 ,wealth2 and #f4 ,family joys 7a   
woman with babes74 ,in this panel the   
background contains suggestions of      
,asiatic and ,american cities4 ,in the  
other panel the background shows a group
 of ships1 ranging from those of the    
earliest times to the modern liner4     
,these two paintings are worthy of study
 for the historical and symbolic        
interest4 ,artistically they are notable
 chiefly for the remarkable freshness of
 coloring and rich mosaic effect4 ,both 
are by ,edward ,simmons4  ,murals in    
,arch of the ,setting ,sun1 at the west 
side of the court4 ,the painting on the 
north wall should be viewed first4 ,this
 represents pioneers from a ,new        

,england village starting for           
,california4 ,there are four groups of  
figures1 as follows3 #a4 two workmen1   
and a woman holding a child2 #b4 a      
symbolic figure of the ,call to         
,fortune2 #c4 a group showing the types 
of those who crossed the continent-the  
driver first1 and then the ,preacher1   
the ,pioneer1 the ,judge1 and the       
,schoolmistress 7there are four children
 also in this group1 and at the back is 
a wagon filled with household goods72   
and #d4 a youth bidding farewell to his 
parents as he starts to join the band of
 emigrants4 ,at the back of the last    
group is seen a typical ,new ,england   
home1 and in the distance a ,new        
,england meeting-house4  ,the ,arrival  
on the ,pacific ,coast is the title of  
the painting on the opposite wall1 which
 represents the immigrants being        
welcomed as they reach ,california4     
,here again there are four groups of    
figures4 ,the first shows two           
,spanish-,american soldiers and their   

captain1 following a priest1 typical of 
the days of ,spanish rule in ,california
 and of the ,mission period4 ,second1   
there is a symbolic figure1 ,the ,spirit
 of ,enlightenment4 ,the third and main 
group shows types of immigrants4 ,the   
men here are3 #a4 the scientist2 #b4 the
 architect2 #c4 the writer2 #d4 the     
sculptor2 #e4 the painter2 #f4 the      
agriculturist2 and #g4 the miner 7or    
other manual worker74 ,a woman and      
several children complete the group1 and
 at the back is a prairie schooner1 from
 which a girl waves a flag4 ,the fourth 
group represents ,california welcoming  
the immigrants1 the state being         
symbolized by tokens of the wealth it   
has to offer settlers3 the orange tree1 
sheaves of grain1 and fruits-the figures
 including the miner1 the farmer1 fruit 
pickers1 and the ,california bear4 ,this
 last group is the most colorful1 and in
 many ways the most appealing1 of all   
those in the two panels under the west  
arch4 ,it is interesting to compare the 

golden warmth here and indeed throughout
 the ,california panel-with the cold    
atmosphere of the ,new ,england one4    
,those who are familiar with the        
historical characters of the ,west will 
be able to recognize in the ,california 
panel idealized portraits of ,william   
,keith as the painter1 ,bret ,harte as  
the writer1 and ,junipero ,serra as the 
priest4 ,in the ,new ,england panel may 
be found ,william ,taylor1 famous street
 preacher of the early days in          
,california1 as the preacher1 and       
,grizzly ,adams as the pioneer4  ,both  
murals under the ,arch of the ,setting  
,sun are by ,frank ,vincent ,dumond4    
,the ,side ,courts  ,the two small      
connecting courts1 or aisles1 at the    
east and west of the ,court of the      
,universe are known as the ,florentine  
,court and the ,venetian ,court         
respectively4 ,both are in ,italian     
,renaissance architecture1 and both are 
remarkably rich in color4 ,the patterns 
on the shafts of the columns1 while     

doubtless adding to the feeling of      
richness1 are a little too pronounced1  
tending to destroy that restfulness     
which is felt in the other ,italian     
courts1 the ,court of ,flowers and the  
,court of ,palms4 ,in both the          
,florentine ,court and the ,venetian    
,court the planting schemes harmonize   
unusually well with the architecture4  -
  ,size of the ,court of the ,universe  
,for the sake of those who find added   
interest in knowing on what scale a work
 of art is built1 the following facts   
are added3  ,the area of the ,court of  
the ,universe is about seven acres4 ,on 
its east and west axis1 from arch to    
arch1 it is six hundred and fifty feet2 
on its north and south axis1 from the   
,tower of ,jewels to the ,column of     
,progress1 it is nearly twelve hundred  
feet4  ,the ,arches of the ,rising ,sun 
and the ,setting ,sun have a total      
height1 to the top of the surmounting   
sculpture1 of two hundred and three     
feet4  ,the ,tower of ,jewels is #dcc   

feet in height1 while the main archway  
beneath is #aaj feet high4    ,court of 
the ,four ,seasons    ,the ,court of the
 ,four ,seasons1 unlike the other main  
courts1 does not immediately call forth 
one's exclamations of surprise and      
delight4 ,it is not so compellingly     
beautiful as either of the others4      
,nevertheless it has a distinctive charm
 of its own-a reposeful atmosphere and a
 simplicity of form that become more and
 more appealing with riper acquaintance4
 ,it is a good place to come to when one
 is satiated with the beauties of the   
other courts1 for restfulness is the    
keynote4 ,the simple massive style of   
the architecture and the simple planting
 scheme combine to produce a spirit of  
calm4 ,the ideas of energy1 achievement1
 progress1 effort-so insistently        
emphasized elsewhere-are left behind1   
and everything breathes a sense of peace
 and orderliness1 of things happening   
all in good season4  ,the primary idea  
underlying the decorative features of   

the court is sufficiently indicated in  
the name1 ,the ,four ,seasons2 and this 
idea is symbolically expressed in the   
sculpture and mural paintings in the    
four corners of the colonnade4 ,but a   
study of the other decorations shows    
that the idea of abundance1 or          
fruitfulness1 was equally in the minds  
of architect and sculptors4 ,the purely 
architectural ornaments1 such as the    
capitals and the running borders1 employ
 the symbols of agriculture and         
fruitfulness1 while no less than five of
 the main sculptural groups or figures  
deal directly with harvest themes4      
,architecture  ,the style of            
architecture is in general ,roman4 ,the 
half-dome and the colonnades are almost 
severely classic4 ,the column capitals  
are ,ionic4 ,but in the freedom of some 
of the architectural forms1 particularly
 in the archways at east and west1 there
 is a suggestion of ,renaissance        
influence4 ,the plan with its four      
cut-corners with fountains1 and its     

half-dome facing down the long colonnade
 to the bay1 is ingenious4 ,the         
half-dome itself1 dominating feature of 
the court1 is exceptionally dignified   
and impressive4 ,to obtain the best view
 of it as a single unit1 one should     
stand between two columns of the        
colonnade near either the ,fountain of  
,summer or the ,fountain of ,autumn-as  
from these points the eye is not carried
 through the doorway at the back of the 
dome1 to the detriment of a unified     
impression4  ,henry ,bacon is the       
architect who designed the ,court of the
 ,four ,seasons4  ,sculpture  ,bulls on 
pylons4 ,the finest sculpture here is to
 be found in the groups capping the     
pylons at the entrance to the minor     
north court4 ,though called by the      
artist ,the ,feast of ,sacrifice1 these 
are commonly known as ,the ,bulls4 ,the 
group1 which is duplicated1 shows a bull
 being led to sacrifice by a youth and a
 maid1 and is reminiscent of the        
harvest-time celebrations of ancient    

peoples4 ,but it is just as well to     
forget the subject1 and to admire purely
 for the sensuous charm-for the beauty  
of outline1 the fine modeling1 and the  
remarkable sense of spirited action4    
,note the three figures individually3   
the nobly animated bull1 the            
magnificently set-up youth1 and the     
strong yet graceful maiden2 then note   
how the sacrificial garland holds the   
whole group together and makes it       
richer4 ,note1 too1 how the             
forward-moving lines of the bull are    
accentuated on one side by the similar  
lines of the youth's body1 and on the   
other by the contrasting lines of the   
girl's4 ,putting aside any question of  
meaning1 there is not in any of the     
courts a nobler bit of decorative work  
than this4 ,albert ,jaegers was the     
sculptor4  ,figures surmounting columns4
 ,on the two columns before the         
half-dome are ,albert ,jaegers' figures 
of ,rain and ,sunshine4 ,at the right1  
as one faces the dome1 ,rain is typified

 by a woman shielding her head with her 
mantle and holding out a shell to catch 
the water4 ,at the left ,sunshine is    
represented by a woman shielding her    
head from the sun's rays with a         
palm-branch4 ,both figures are          
characterized by a sense of richness1 of
 fullness1 that is perfectly in keeping 
with the spirit of the court4 ,in       
commenting on these statues1 in one of  
his lectures on the art of the          
,exposition1 ,eugen ,neuhaus1 the       
well-known ,california painter1         
suggested very appropriately that the   
court should have been named for them   
,the ,court of the ,two ,seasons since  
in ,california the only noticeable      
seasonal change is from a sunny period  
to a rainy period4  ,group surmounting  
half-dome4 ,this shows a conventional   
seated figure of ,harvest1 with an      
overflowing cornucopia4 ,at one side a  
child-figure bows under a load of fruit4
 ,this group also is by ,albert         
,jaegers4 ,here1 as in ,rain and        

,sunshine1 there is a sense of          
fruitfulness1 of profuseness1 a maternal
 suggestion that helps to carry out the 
symbolism of the court4 ,in all three of
 these statues1 too1 there is something 
of the nobility and massiveness that    
distinguish the same artist's bull      
groups across the court4 ,all are       
eminently suited to the massive ,roman  
architecture2 nowhere else have sculptor
 and architect worked together more     
successfully4  ,fountains of the        
,seasons4 ,in the niches formed at the  
corners of the court by the diagonal    
colonnades are novel fountains1         
surmounted by groups representing the   
four seasons4 ,it is well to go first to
 the southwest corner1 to the ,fountain 
of ,spring2 then to the northwest       
corner1 for ,summer2 and so on around   
the court4 ,if one is ever puzzled to   
understand from the figures which season
 is represented1 a glance at the labeled
 murals up above in the corridor will   
give the proper title for statue and    

murals of each season are grouped       
together4  ,spring4 ,a young woman draws
 a floral garland over her head1 while  
at her right a love-lorn youth turns a  
pleading face to her1 and at her left a 
girl brings armfuls of flowers4         
,summer4 ,to a man a woman holds up a   
babe1 symbol of the summer of human     
life1 while at one side a crouching     
figure holds a sheaf of full-headed     
grain4  ,autumn4 ,the central figure is 
a woman of generous build with a jar on 
her shoulder-quite the usual            
personification of ,autumn or           
fruitfulness4 ,at one side a young woman
 holds a garland of grapes1 and at the  
other is a girl with a babe4 ,this last 
figure is perhaps the most graceful in  
all the four groups1 though the same    
sort of loveliness distinguishes to a   
certain extent the two flower-girls of  
,spring4 ,altogether1 this ,autumn      
fountain is probably the finest of the  
four4  ,winter4 ,the central figure is  
,nature1 in the nakedness of winter1    

resting after the harvests of autumn and
 waiting for the birth of spring4 ,at   
one side a man with a spade rests1 while
 on the other a man with a seed-bag is  
already beginning to sow4 ,although all 
the figures of ,the ,fountains of the   
,seasons are nude1 there is about this  
group a sense of cold nakedness that    
well accords with the season it         
portrays4  ,these four groups are very  
properly alike in composition and       
feeling-suggesting perhaps that the     
differences between the seasons in      
,california are but slight4 ,there is   
throughout a conventional touch1 and all
 are in pastoral mood4 ,the groups are  
by ,furio ,piccirilli4  ,the ,fountain  
of ,ceres is in the north extension of  
the court1 between the ,palace of ,food 
,products and the ,palace of            
,agriculture4 ,the surmounting figure is
 of ,ceres1 ,greek goddess of the fields
 and especially of corn4 ,the bas-relief
 frieze represents a group of dancers1  
suggestive of the seasonal festivals of 

the ,greeks4 ,the main figure has been  
much criticized1 but an unbiased critic 
may find much in the fountain to praise4
 ,the pedestal and the crowning figure  
are well thought out1 and the           
proportions of the whole are good2 and  
there is a feeling of classic simplicity
 throughout4 ,the frieze of dancing     
girls1 too1 is exceptionally graceful4  
,if1 then1 one discovers that ,ceres is 
more mature than a goddess ever ought to
 be1 or that her face suggests that of  
an exasperated school-teacher1 or if one
 finds the cornstalk in her hand a      
realistic thing incompatible with any   
poetic conception1 it is well to step   
back until one gets only the general    
effect4 ,for there is much to admire in 
the poise of the figure1 in the         
decorative outline1 and in the          
sculptor's lightness of touch4 ,the     
fountain was designed by ,evelyn        
,beatrice ,longman4  ,minor ,sculptures4
 ,on the archways at east and west of   
the court a high-relief figure by       

,august ,jaegers is repeated eight      
times1 and the spandrels over the arches
 are by the same artist4 ,in both cases 
the idea of abundance or fruitfulness   
again supplies the motive4 ,the boxes at
 the bases of the columns on which ,rain
 and ,sunshine stand are decorated with 
agricultural scenes in low relief4 ,the 
capitals at the tops of these columns   
are enriched with groups of agricultural
 figures4 ,within the archways at east  
and west the ceilings are decorated with
 delicate bas-relief designs1 patterned 
after the famous ones at ,villa         
,maderna1 ,rome4  ,mural ,paintings     
,all the murals in the ,court of the    
,four ,seasons are by ,h4 ,milton       
,bancroft4 ,in general they are less    
interesting than those of any other     
court4  ,the ,seasons4 ,in the four     
corners of the colonnade there are eight
 panels1 grouped by twos as follows3    
,spring and ,seed ,time2 ,summer and    
,fruition2 ,autumn and ,harvest2 and    
,winter and ,festivity4 ,there is little

 to hold the attention either in        
richness of color or in unusual grace of
 composition4 ,moreover1 the artist has 
left nothing to the imagination in the  
symbolism by which he expresses the     
several ideas4 ,the devices are so      
hackneyed1 and the meaning so obvious1  
that any sort of interpretation would be
 entirely superfluous4  ,panels under   
half-dome4 ,on the east wall under the  
dome is the panel ,art ,crowned by      
,time4 ,father ,time crowns ,art1 while 
on one side stand figures representing  
,weaving1 ,jewelry1 and ,glasswork1 and 
on the other ,printing1 ,pottery1 and   
,smithery4 ,on the opposite wall is the 
panel ,man ,receiving ,instruction in   
,nature's ,laws4 ,a woman holds before a
 babe a tablet inscribed ,laws of       
,nature1 while on one side are figures  
of ,fire1 ,earth and ,water1 and on the 
other figures of ,death1 ,love1 and     
,life4 ,these two larger panels are more
 pleasing than the eight representing   
the ,seasons1 both in coloring and in   

figure composition2 and they make       
pleasing spots of bright color in the   
dome4 ,but again the artist is tediously
 careful to make his meanings plain4    
,not only does each figure hold its     
obvious symbol prominently in view1 but 
there are labels naming the figures4 ,to
 the art student the painter's          
stipple-and-line method1 producing      
vibration of light and a certain        
freshness of atmosphere1 will be of     
interest1 as being out of the usual run 
of mural technique4  ,before leaving the
 ,court of the ,four ,seasons one should
 stand under the central arch of the    
triple portal at the east1 and look     
first to the east through the ,arch of  
the ,setting ,sun to the group ,nations 
of the ,east2 and then to the west along
 the vista that ends with the kneeling  
figure before the ,fine ,arts temple4   
,the arrangement of architectural and   
sculptural units in both vistas is      
worthy of study4    ,the ,court of      
,palms and the ,court of ,flowers    ,in

 these two courts1 which pierce the     
walled city on the south1 opposite the  
,palace of ,horticulture and opposite   
,festival ,hall1 is to be found the     
purest expression of that spirit of the 
,italian ,renaissance which hovers over 
so much of the ,exposition architecture4
 ,here1 too1 one finds ,jules ,guerin's 
color scheme at its richest4 ,both      
courts necessarily lack the cloistral   
charm of the ,court of ,abundance1 since
 they have the fourth sides open4 ,but  
what they lack in the sense of enclosure
 they make up in sunniness and joyous   
color4 ,they are restful and warm and   
quiet-and artistically they are among   
the most perfect and most harmonious    
units on the grounds4  ,the ,court of   
,palms  ,the ,court of ,palms is        
directly opposite the ,palace of        
,horticulture1 between the ,education   
and ,liberal ,arts ,palaces1 and adjoins
 the ,court of the ,four ,seasons4 ,the 
charming sunken garden and simple pool  
reflect the colored colonnade1 arches   

and towers with a sense of rest that is 
a relief and stimulant after walking    
miles of exhibit halls4 ,although really
 nearly two acres in area1 the court    
seems small and intimate4 ,the          
proportions are good1 and the planting  
particularly fortunate4  ,the           
architecture is ,renaissance1 and is    
suggestive of the interior courts of the
 palaces of the ,italian nobles4 ,the   
colonnade columns are ,ionic4 ,the high 
attic story or frieze above the         
colonnade is remarkably rich1 with its  
orange brown panels garlanded with green
 and red fruits1 and decorated with     
,caryatid pilasters4 ,it is worthy of   
study for the way in which architect1   
sculptor and color director have        
co-operated4 ,the ,italian ,towers1     
terminating the colonnades1 are among   
the finest bits of architectural design 
in the whole building group4 ,though    
only a fraction of the height of the    
,tower of ,jewels1 they convey much     
better the impression of reaching high  

into the heavens1 of aspiration and     
uplift4 ,they are more satisfying1 too1 
in their combination of architectural   
forms1 and they carry out notably well  
the delicate but luxuriant color scheme 
of the court4 ,the unusual repeated     
pattern which fills the large wall      
panels of the towers is worthy of       
attention4  ,the architect of the court 
was ,george ,w4 ,kelham4  ,sculpture4   
,the only really important statue in the
 court is that which stands at the      
opening on the ,avenue of ,palms-called 
,the ,end of the ,trail4 ,an ,indian1   
bowed at last under the storm1 sits     
astride a dejected horse utter          
weariness1 discouragement1 lost hope1   
expressed in every line of man and      
animal4 ,some see in the statue only the
 abject despair of a horse and rider    
when the consciousness finally comes    
that the trail is definitely lost in the
 wilderness2 and it is notable enough as
 an expression of this tragic theme4    
,but others1 remembering the history of 

the ,indian1 see here an eloquent and   
pathetic reminder of a race that has    
seemingly come to the end of its trail4 
,as a portrayal of this racial tragedy  
the group is even more remarkable than  
as an expression of the hopelessness of 
a lost man and horse4  ,the statue is   
hardly in key with its architectural    
surroundings2 but its comparatively     
isolated position prevents it from      
seeming an intrusive element in the     
court4 ,considered alone it is more     
individual1 more expressive of          
independent and deep moving thought1    
than any other sculpture in the grounds4
 ,there is far more of real earnestness 
here than is usual in exposition        
sculpture4 ,the thing is significant1   
too1 for the native note4 ,it is worthy 
of serious study as indicating one of   
the most important tendencies of        
,american sculpture when not tied to the
 purely decorative4 ,the sculptor was   
,james ,earl ,fraser4  ,the minor       
sculptures in this court consist of the 

,caryatides by ,john ,bateman and ,a4   
,stirling ,calder2 the spandrels1 by    
,albert ,weinert2 ,the ,fairy1 by ,carl 
,gruppe1 which crowns the ,italian      
,towers2 and the classic vases at the   
portals4  ,the mural paintings in this  
court are disappointing4 ,two are       
surprisingly poor1 considering the high 
reputation of the artists1 and the third
 is badly placed4 ,the tympanum in the  
portal at the east side of the court is 
filled by ,charles ,w4 ,holloway's      
panel1 ,the ,pursuit of ,pleasure4 ,this
 is a conventional treatment of the     
subject1 in which a number of youths and
 maidens turn lackadaisically to a      
winged figure of ,pleasure4 ,there is a 
pleasing lightness of touch1 and the    
bright reds and blues are in keeping    
with the spirit of the court-but the    
thing is1 somehow1 insipid4 ,this panel 
is more pleasing under illumination4 ,in
 the opposite portal is ,childe         
,hassam's painting1 ,fruits and         
,flowers4 ,this again is a conventional 

treatment1 showing very obviously       
vegetable and human fruits and flowers4 
,the arrangement is tediously symmetric1
 the coloring is rather weak1 and there 
is a wooden stiffness about the figures4
 ,the panel makes a pleasant spot of    
color1 but is by no means up to the     
standard of the canvases in ,hassam's   
room in the ,palace of ,fine ,arts4     
,the panel over the main doorway1 at the
 north end of the court1 is by ,arthur  
,f4 ,mathews1 and is far superior to the
 other two1 though unfortunately placed 
in a dark spot4 ,it is called by the    
artist ,a ,victorious ,spirit4 ,the     
central figure1 gorgeously suggesting   
the ,spirit of ,enlightment1 protects   
,youth from the discordant elements of  
life from materialism and brute force1  
as represented by the rearing horse and 
militant rider4 ,youth is attended by   
the peace-bringing elements of life1 by 
,religion1 ,philosophy or ,education1   
and the ,arts4 ,the symbolism here is   
sound1 the composition and drawing      

unusually good1 and the coloring quite  
wonderful-especially in the             
orange-yellow robe of the ,spirit4 ,the 
full deep colors are in sharp contrast  
with those of most of the ,exposition   
murals4  ,no one should leave this court
 without first pausing to enjoy the     
vista through the north doorway1 showing
 ,albert ,jaeger's spirited ,sacrificial
 ,bulls on the ,agriculture and ,food   
,products ,palaces1 the long colonnade  
of the ,court of the ,four ,seasons1 and
 the bit of bay and hills beyond4  ,the 
,court of ,flowers  ,the ,court of      
,flowers is opposite to ,festival ,hall1
 between the ,mines and ,varied         
,industries ,palaces4 ,the first        
impression1 as one comes to it1 is that 
here is a replica of the colorful ,court
 of ,palms4 ,but many differences become
 evident after a few moments' study4    
,the architecture is ,italian           
,renaissance1 but of a more richly      
decorative sort than in the ,court of   
,palms4 ,there is more overlaid         

ornament1 and on the whole1 less        
simplicity and quietness and more varied
 interest4 ,the columns here are        
,corinthian1 arranged in pairs4 ,the    
gallery above the colonnade adds to the 
suggestion of the sunny ,south4 ,the    
,italian ,towers1 while similar in      
feeling to those of the other court1 are
 different in the arrangement of        
elements1 though equally successful4    
,the color decoration is again notable4 
,it is hardly necessary to add that     
,george ,w4 ,kelham designed this court 
too4  ,sculpture4 ,the center of the    
court is dominated by ,edgar ,walter's  
,beauty and the ,beast ,fountain4 ,the  
surmounting statue is a curious         
combination of graceful lines and       
grotesque effects4 ,the strange ,beast  
is no less fantastic than the young lady
 herself-she who has adorned her fair   
body with nothing more than a ,spring   
hat and a pair of sandals4 ,it is       
probably this near-nudeness1 without    
pure nakedness1 that creates the jarring

 note of the group ,certainly there is a
 bizarre touch that somewhat offsets the
 sinuous charm of the figure4 ,under the
 upper basin are four piping ,pans1 not 
notable individually1 but adding to the 
decorative effect4 ,the wall around the 
lower pool carries a playful frieze of  
animals in low relief4  ,the ,pioneer is
 the title of the equestrian statue at  
the south end of the court1 on the      
,avenue of ,palms4 ,the man is typically
 the ,western pioneer1 as every resident
 of the ,pacific ,coast has known him-a 
patriarchal figure who foreran          
civilization here in the ,west of       
,america as he has in all other new     
lands4 ,head up1 axe and gun in hand1   
looking straight forward1 he is a fine  
visualization of the ,forty-niner4 ,he  
is1 too1 an interesting racial contrast 
to the ,indian of ,the ,end of the      
,trail4 ,one wonders1 however1 about the
 horse1 with the elaborate trappings    
that clearly belong to another era-to   
the days of ,spanish conquest1 perhaps4 

,certainly horse and rider do not seem  
to be conceived in the same spirit4 ,the
 group lacks1 too1 that vital intensity 
of feeling and that emotional strength  
which distinguish ,the ,end of the      
,trail1 the companion-statue in the     
,court of ,palms4 ,the ,pioneer is by   
,solon ,borglum4  ,the minor sculpture  
here consists of ,a4 ,stirling ,calder's
 attractive ,flower ,girl1 repeated in  
the niches along the loggia2 dignified  
,lions1 by ,albert ,laessle1 flanking   
the three portals2 and again ,carl      
,gruppe's ,the ,fairy1 atop the ,italian
 ,towers4    ,the ,tower of ,jewels1 and
 the ,fountain of ,energy    ,it was    
planned that the ,tower of ,jewels      
should be the great dominating feature  
of the architectural scheme of the      
,exposition2 that this unit more than   
any other should stand as a triumphal   
monument to celebrate the opening of the
 ,panama ,canal4 ,the mural paintings1  
the sculpture and the inscriptions all  
carry out this idea1 but the tower1 in  

its architectural aspect alone1 fails to
 live up fully to its purpose4 ,it      
serves well to center the whole scheme1 
and to afford an imposing pile at the   
main entrance4 ,nevertheless it falls   
short of the high architectural standard
 of the courts and palaces4             
,architecture  ,the architectural forms 
used in the design of the tower are in  
general classic2 but the architect has  
shown considerable originality in their 
arrangement and massing4  ,the lower    
portion1 embracing the imposing arch and
 flanking colonnades1 is very dignified 
and quite satisfying4 ,standing close to
 the structure1 on the south side1 so   
that one is conscious chiefly of this   
lower portion1 there comes the proper   
sense of nobility-the feeling that one  
obtains from a successful triumphal     
arch4 ,the chief fault of the tower     
above is that it lacks the long lifting 
lines that would give a sense of        
aspiration4 ,it seems just a little     
squat and fat-as if it were too heavy on

 top and splayed out at the sides and   
bottom4 ,it is also somewhat showy1 with
 too much hung-on ornament2 and the     
green columns against red walls are not 
satisfying-this being one of the very   
few failures of the color scheme in the 
entire group of buildings4  ,at night   
the tower takes on a new and unexpected 
beauty4 ,the outline softens under the  
illumination1 and the feeling of        
over-decoration and broken lines is     
lost4 ,the whole structure becomes a    
huge finger of light1 reaching up into  
the dark heavens-with softer indirect   
lighting below1 and glowing brilliantly 
above4 ,even the hundred thousand       
pendent jewels1 which at best are but   
flashy in the day time1 add to the      
exquisite fairy like effect at night4   
,the illumination here is such1 indeed1 
that it must be one of the most         
impressive and lasting memories to be   
carried away by the visitor4  ,the      
,tower of ,jewels was designed by       
,thomas ,hastings1 of the firm ,carrere 

and ,hastings of ,new ,york4  ,sculpture
  ,the sculpture1 like the mural        
paintings1 deals in general with the    
winning of the ,americas and the        
achievement of the canal project4       
,sculpture on the tower4 ,as one stands 
in the ,south ,gardens facing the tower1
 one sees above the first cornice1      
reading from left to right1 four statues
 of ,the ,adventurer1 ,the ,priest1 ,the
 ,philosopher1 and ,the ,soldier4 ,these
 finely realized figures1 which are by  
,john ,flanagan1 represent four types of
 the early conquerors of ,america4 ,on  
the next story is a repeated equestrian 
statue of the ,spanish ,conqueror1      
called ,the ,armored ,horseman1 by ,f4  
,m4 ,l4 ,tonetti4 ,these five statues   
are repeated on the other three faces of
 the tower4 ,there is much other        
sculpture of a purely decorative sort1  
the motives used being those usually    
found in triumphal monuments1 such as   
eagles1 wreaths1 and the beaks of ships 
with which the ,romans ornamented the   

columns celebrating their naval         
successes4  ,equestrian statues at      
entrance4 ,in front of the two side     
colonnades are spirited equestrian      
statues4 ,as one faces the tower1 the   
figure at the left is of ,pizarro1 who  
conquered the richest portion of ,south 
,america for ,spain4 ,this figure is    
heroically decorative1 and is by        
,charles ,carey ,rumsey4 ,at the other  
side of the main arch is ,charles       
,niehaus' vigorous statue of ,cortez1   
who won ,mexico for ,spain4 ,this       
figure1 carrying a flag and pennon on a 
lance1 and perfectly seated on the      
strong horse1 has a live sense of       
movement1 and the whole group is        
informed with the spirit of the lordly  
conqueror4  ,fountains under the tower4 
,within the colonnades to east and west 
of the main archway are respectively the
 ,fountain of ,youth and the ,fountain  
of ,el ,dorado4  ,the ,fountain of      
,youth consists of a central figure on a
 pedestal1 and two rounded side panels  

with figures in relief4 ,youth is       
symbolized as a girl1 an immature       
figure1 beautifully modeled4 ,she       
stands1 perfectly poised1 among rising  
blossoms4 ,on the pedestal are more     
flowers in relief1 and two dimly        
indicated half-figures of a man and     
woman may be discovered4 ,the side      
panels show old people being drawn away 
in ships manned by cherubs-old people   
who gaze back wistfully at the ,youth   
they are leaving4 ,really the fountain  
is far more charming if one forgets all 
but the central figure4 ,there is in    
that a sweet tenderness1 a maidenly     
loveliness1 that makes it the perfect   
embodiment of ,youth-an embodiment to be
 remembered with delight again and      
again4  ,the fountain was designed by   
,edith ,woodman ,burroughs4  ,the       
,fountain of ,el ,dorado is on the other
 side of the archway1 and is by         
,gertrude ,vanderbilt ,whitney4 ,it     
represents1 as a whole1 mankind's       
pursuit of the unattainable4 ,the legend

 of ,el ,dorado is that there once lived
 in ,south ,america a prince1 ,the      
,gilded ,one1 who had so much gold that 
daily he had his body covered with gold 
dust4 ,many ,spanish explorers spent    
fruitless years in search of the        
fabulously rich country of this prince4 
,the idea of the fountain is that the   
,gilded ,one1 representing the          
unattainable1 the advantages of wealth  
and power which deluded men and women   
seek without value given to the world in
 return1 has just disappeared through   
the gateway1 the gates closing after    
him4 ,on either side processions of     
seekers who have glimpsed the ,gilded   
,one1 strain toward the gateway4 ,some  
loiter in love or play1 some drop from  
fatigue1 some fight their way along2 and
 the first two1 finding that the pursuit
 is fruitless after all1 have dropped to
 their knees in anguish4 ,the two       
standing figures beside the gates are   
said by the sculptor to have no         
significance beyond the fact that they  

are just guardians4  ,the fountain is   
notable for its symbolism and for the   
modeling of the many nude figures4 ,the 
panel on the right is especially        
decorative1 and has some notably fine   
individual figures and groups4 ,the     
spirit of the fountain1 with its realism
 and its note of hopelessness1 is not in
 keeping with that pervading most of the
 ,exposition sculpture4 ,after looking  
at the work for a time1 turn and look   
back through the two archways at the    
central figure of ,youth at the other   
side4 ,certainly no figure in the       
,fountain of ,el ,dorado has the appeal 
and charm of that4  ,mural ,paintings   
,on the walls of the archway under the  
,tower of ,jewels are eight paintings   
celebrating the building of the ,canal4 
,all are by ,william de ,leftwich       
,dodge4  ,on the west wall the first    
panel is called ,discovery4 ,it portrays
 the discovery of the ,pacific ,ocean by
 ,balboa4  ,the second panel is called  
,atlantic and ,pacific4 ,a huge figure  

of ,labor1 having brought together the  
oceans1 is opening a waterway from ,west
 to ,east4 ,on the left an ox-drawn     
prairie schooner has arrived at the     
shore1 with types of ,western           
civilization4 ,on the opposite shore    
types of the nations of the ,east1 in a 
colorful group1 are straining forward to
 meet the ,west4  ,the third panel is   
entitled ,the ,purchase4 ,a figure      
representing the ,united ,states is     
taking over the canal project from      
,france4 ,the ,french laborers are      
throwing down their tools1 and          
,americans press forward to take them   
up4  ,in the group on the opposite wall 
the first panel is called ,labor        
,crowned4 ,victorious ,labor is being   
crowned by the angel of ,success1 while 
soldier and workers come to pay homage4 
,the second panel is entitled ,the      
,gateway of ,all ,nations4 ,figures     
symbolizing ,progress call the world to 
pass through the ,canal4 ,neptune holds 
garlands by which he draws ships of the 

various nations toward the waterway4    
,two laborers rest on their machines and
 watch the procession which they have   
made possible4  ,the last panel is      
called ,achievement4 ,a woman with the  
symbols of knowledge1 or wisdom1 sits   
enthroned1 while about her are grouped  
figures representing the forces         
instrumental in building the ,canal4 ,at
 the left are laborers2 at the right    
figures typifying ,engineering1 ,medical
 ,science 7with the ,caduceus1 the wand 
of ,mercury1 god of medicine71 and      
,commerce or ,munificence4  ,these mural
 paintings are among the most           
interesting and most imaginative of all 
those at the ,exposition4 ,some of the  
groups are particularly fine in         
coloring4 ,note the method of obtaining 
the right effect of flatness by         
employing a conventional diaper pattern 
for the background throughout4 ,the     
panels here are much more effective     
under full illumination at night than by
 daylight4  ,the ,fountain of ,energy   

,the ,fountain of ,energy in the ,south 
,gardens was designed to be the crowning
 feature of the sculpture of the        
,exposition1 just as the ,tower of      
,jewels was designed to dominate the    
architectural scheme2 and it fails of   
its high purpose in much the same way4  
,it is closely allied with the tower in 
symbolic meaning1 celebrating man's     
victory over the forces of nature in the
 successful building of the canal4  ,in 
the pool at the base of the fountain are
 a number of graceful groups of water   
sprites on dolphins1 and four larger    
groups representing the four great seas4
 ,the one to the east of the main       
fountain represents ,the ,atlantic      
,ocean as a woman with sea-horses in one
 hand and coral like hair1 on the back  
of a conventionalized dolphin4 ,at the  
north ,the ,north ,sea is represented by
 a sort of sea-man1 with occasional fins
 and with a three-pronged spear in hand1
 riding on a walrus4 ,at the west ,the  
,pacific ,ocean is typified by a woman  

on a remarkable sea monster4 ,and on the
 south a sea-man with negro-like        
features1 and with an octopus in one    
hand1 rides on a sea-elephant1          
representing ,the ,south ,seas4  ,the   
main pedestal of the statue is a globe1 
representing the earth4 ,this is        
supported by a series of figures of     
mermaids and mermen4 ,the ,eastern and  
,western ,hemispheres are represented by
 figures reclining on the globe1 the one
 to the east a cat-headed woman1 the one
 to the west a bullheaded man4 ,the     
band1 decorated with aquatic figures1   
which encircles the globe1 suggests the 
final completion of a waterway about the
 earth4  ,energy1 the ,victor1 the      
surmounting group1 typifies the         
indomitable spirit that has achieved the
 building of the ,canal4 ,the nude      
figure of ,energy with arms outstretched
 rides a horse through the waves1 while 
on his shoulders stand smaller figures  
of ,valor 7with a wreath7 and ,fame     
7with a sword7 heralding the triumph4   

,these small figures are unfortunate    
they hardly belong1 and instinctively   
one is worried for their equilibrium4   
,the whole fountain is instinct with    
energy1 and expresses joyous            
achievement1 as was meant4 ,moreover it 
is remarkable in its breadth of         
conception1 in imaginative              
interpretation of the theme4 ,but it    
lacks that sense of repose which would  
make it intimately satisfying4  ,the    
fountain was designed by ,a4 ,stirling  
,calder4    ,palaces ,facing the ,avenue
 of ,palms    ,the adoption of the      
walled-city plan for the ,exposition    
meant the grouping of the more imposing 
architectural effects in the interior   
courts1 the outer facades simply forming
 parts of a practically continuous wall 
about the whole4 ,inspired by ,spanish  
architecture of the ,renaissance1 the   
intention was to keep the wall spaces in
 general quite bare1 concentrating the  
decorative effects in rich spots at     
carefully chosen intervals4 ,thus the   

outer facades of the central group of   
palaces combine a simple general form   
with a series of richly ornamental      
portals4 ,the architect who as entrusted
 with the designing of the wall and all 
the portals was ,w4 ,b4 ,faville of     
,bliss and ,faville4  ,certain          
architectural and sculptural units are  
repeated throughout the central group4  
,each building has a low central dome1  
seldom seen when one is close to any of 
the main buildings1 but adding greatly  
to the decorative effect from a slight  
distance4 ,these domes are of ,byzantine
 style1 and are colored in harmonizing  
shades of green and pink4 ,the small    
repeated corner domes add another       
,eastern touch1 and are especially      
effective at night4 ,the outer wall is  
edged all the way around with a simple  
cornice and a few rows of dull red      
tiles1 distinctly ,southern in feeling1 
and therefore harmonizing with both the 
,spanish and the ,italian ,renaissance  
doorways4  ,the ,winged ,victory is the 

fine decorative figure that crowns the  
gables of all the palaces of the        
walled-city4 ,it is broadly modelled1   
massive and yet refined1 and from any   
viewpoint stands out in beautiful       
silhouette against the sky4 ,it is by   
,louis ,ulrich4  ,palace of ,varied     
,industries  ,before turning to the more
 important south facade1 it is well to  
look at the east wall1 with its         
dignified and colorful portal4 ,this is 
,roman in style of architecture1 to     
harmonize with the ,palace of ,machinery
 opposite4 ,it is similar in general    
form to the memorial arches and gateways
 of the ,romans1 but in the use of      
architectural motives and in decoration 
it is of ,italian ,renaissance style4   
,the niches at each end of the gallery  
contain figures of ,the ,miner1 by      
,albert ,weinert4 ,the facade is        
ornamented with buttresses at regular   
intervals1 carrying figures of the      
,california ,bear holding a scutcheon   
with the state seal4  ,returning to the 

,avenue of ,palms and the south facade1 
one sees the most important artistic    
feature of the building1 the central    
portal4 ,this is a copy1 except for the 
figures filling the niches1 of the      
famous doorway of the ,hospital of      
,santa ,cruz at ,toledo1 ,spain4 ,it is 
in ,spanish ,renaissance style1 of that 
especially rich type known as           
,plateresque1 due to its likeness to the
 work of the silversmiths of the time4  
,for its grace of composition1 its      
exquisite detail1 its total effect of   
richness and depth1 this portal is      
worthy of long study4  ,the sculpture of
 the portal is all by ,ralph ,stackpole4
 ,in the lower niches are replicas of   
,the ,man with a ,pick1 a figure that   
has been justly admired as a sincere    
portrayal of a simple laboring type4    
,the relief panel in the tympanum       
represents various types of industry4   
,from left to right the figures typify  
,spinning1 ,building1 and ,agriculture  
7or the clothing1 sheltering and feeding

 of mankind71 and ,manual ,labor1 and   
,commerce4 ,the group in the niche above
 the arch shows a young laborer taking  
the load from the shoulders of an old   
man4 ,the single figure at the top of   
the arch shows the laborer thinking1 and
 is called ,power4 ,note how all these  
sculptures1 while having individual     
interest1 fit unobtrusively into the    
lace-like portal4  ,palace of           
,manufactures  ,the wall of this        
building is broken by pilasters and     
inset decorative panels1 and by a series
 of niches with animal head fountains4  
,the central portal is pure ,renaissance
 architecture1 again suggestive of the  
,roman gateway in form4  ,the sculptures
 of the doorway1 including the two      
figures of male and female labor in the 
niches1 and the long high-relief panel1 
are by ,mahonri ,young1 who is noted for
 his simple1 powerful treatment of      
modern themes4 ,the panel represents    
various branches of manufacture1        
including metal work1 blacksmithing1    

pottery-making1 spinning1 and           
architectural sculpture4  ,palace of    
,liberal ,arts  ,the facade here exactly
 duplicates that just described1 even to
 the niche figures and panel in the     
portal4  ,palace of ,education  ,the    
,palace of ,education has three         
,renaissance portals on the south       
facade4 ,these are more ,spanish in     
feeling than those of the two palaces   
just passed4 ,the tympanum panel of the 
central doorway may be taken to         
represent kindergarten teaching1        
instruction of boys and girls1 and      
self-education in young manhood4 ,it is 
by ,gustave ,gerlach4 ,the two panels in
 the walls over the minor doorways treat
 very obviously of educational subjects4
 ,they are flat in more senses than one1
 lacking the life of the central        
tympanum group4 ,they are by students of
 two ,american art schools4  ,the west  
facade of the ,palace of ,education is  
dominated by an immense half-dome1      
impressive in size and attractively     

decorated4 ,the style of architecture   
here is mainly ,roman1 to harmonize with
 the ,fine ,arts ,palace which it faces 
across the lagoon4 ,there are two       
splendid architectural fountains1 under 
the half-dome here and under1 that of   
the ,palace of ,food ,products4         
,sculpture4 ,flanking the great arch are
 columns carrying the nude figure of a  
man1 with hands crossed1 gazing fixedly 
in thought4 ,in the official list this  
is called ,philosophy or ,thought1 and  
from it the immense portal is called    
,the ,half-dome of ,philosophy4 ,but the
 same figure occupies the corresponding 
position before the ,food ,products     
,palace1 and is there called ,physical  
,vigor4 ,the truth is that the artist   
designed the statue to suggest that     
finest of all unions of strength1 the   
physically powerful man thinking4 ,thus 
the figure is appropriate to both a food
 products building and an education     
building4 ,the figure is strong1 but is 
not so convincing or appealing as the   

same artist's ,man with a ,pick1 in the 
,varied ,industries portal4 ,within the 
half-dome is a repeated figure with a   
scroll inscribed ,libris1 by ,albert    
,weinert4  ,the six niches in the west  
wall have two repeated statues by       
,charles ,r4 ,harley1 known as ,the     
,triumph of the ,field and ,abundance4  
,they are simply repeated from the ,food
 ,products ,palace to the north1 where  
they properly belong1 and will be       
treated in the next chapter in          
connection with that building4  ,on the 
north facade of the ,palace of          
,education are duplicates of the three  
south portals1 with the same sculptured 
panels4    ,palaces ,facing the ,marina1
 and the ,column of ,progress    ,the   
walled-city idea1 which throws most of  
the fine architecture into interior     
courts1 is even more severely carried   
out in the north facades than in the    
south4 ,the palaces on the ,marina1     
indeed1 present a wall unbroken except  
by the central doorways and the slight  

corner projections4 ,the small domes at 
the corners give a ,moorish touch1      
reminiscent of ,southern ,spain1 and the
 portals are direct adaptations from    
,spanish masterpieces4  ,palace of      
,mines  ,the north facade of the ,palace
 of ,mines is free from all ornament    
except the richly decorative central    
portal4 ,this is worthy of prolonged    
study1 being one of the finest bits of  
architectural ornament at the           
,exposition4 ,it is designed very       
closely after ,spanish models1 and is of
 that transitional period of ,spanish   
architecture that came between the      
,gothic and the ,renaissance1 when      
,gothic had been enriched through the   
influence of ,moorish art1 and was just 
beginning to feel the impulse of the    
,italian ,renaissance4 ,note how rich is
 every part of the detail2 then note how
 all detail is subordinated to the mass 
effect of the whole4  ,the statues in   
the niches of the portal are by ,allen  
,newman4 ,the central mantled figure is 

called the ,conquistador1 or conqueror4 
,the artist has here portrayed in       
spirited fashion a fine type of ,spanish
 nobility4 ,the figure in the side      
niches1 with an old-style pistol in his 
belt and a rope in his hand1 is ,the    
,pirate4  ,the east facade of the       
,palace of ,mines duplicates that of the
 ,varied ,industries ,palace1 and the   
west facade forms one side of the north 
,court of ,abundance4  ,palace of       
,transportation  ,here the one notably  
artistic feature is the central portal  
on the north side1 which is an exact    
replica of the ,spanish doorway of the  
,palace of ,mines4  ,the ,column of     
,progress  ,this monument symbolizes the
 energy1 the unconquerable spirit that  
is forever pressing forward to overcome 
new obstacles1 which has led to the     
building of the ,canal4 ,the idea of    
such a monument was conceived by ,a4    
,stirling ,calder1 the architectural    
design is from the hand of ,w4 ,symmes  
,richardson1 the reliefs at the base are

 by ,isidore ,konti1 and the crowning   
statue is by ,hermon ,a4 ,mac,neil4 ,the
 ,column of ,progress as a whole is     
among the finest artistic achievements  
of the ,exposition1 and more than any   
other1 perhaps1 is worthy of            
perpetuation in permanent materials to  
commemorate for all time the opening of 
the ,panama ,canal and the holding of   
the ,exposition4  ,reliefs at base4 ,the
 high relief frieze on the square base  
of the column represents mankind heeding
 the call to achievement4 ,on the south 
face are allegoric figures calling      
mankind to the struggle1 the two women  
holding palm branches1 the insignia of  
victory4 ,on the other three faces are  
shown groups of figures striving forward
 at the call1 pressing on to            
achievement1 some joyously1 some        
laboriously1 some stopped altogether in 
thought4 ,the whole frieze suggests the 
beginning of progress4  ,in the spiral  
that winds about the column certain     
interpreters have found a symbol of the 

upward march of human achievement2 but  
as this spiral decoration is found on   
the ,column of ,trajan and the ,column  
of ,marcus ,aurelius1 the ,roman        
prototypes of the ,column of ,progress1 
there probably is no special            
significance in its use here4           
,supporting the crowning group is a drum
 with crouching figures of toilers in   
relief1 entitled ,the ,burden ,bearers4 
,the ,adventurous ,bowman is the title  
of the surmounting statue4 ,the heroic  
,bowman1 facing the skies and the seas1 
and launching his arrow into the        
unknown1 is the symbol of the impulse   
that leads men to dare all to achieve   
victory4 ,at the left of the central    
figure is a man of smaller stature1     
leaning against the ,bowman to give him 
support4 ,on the other side a woman     
crouches1 looking up as the arrow speeds
 on its way4 ,the ring-like object in   
the woman's hand1 which is so hard to   
identify when one views the group from  
the ground1 is a wreath4  ,there is     

about the ,bowman a remarkable sense of 
movement1 of energy1 of pressing        
forward1 no matter what the view point  
of the spectator4 ,the monument should  
be seen from as far north as possible1  
near the corner of the ,california      
building1 perhaps4 ,from here1 from the 
,esplanade as one approaches from either
 east or west1 and from the ,court of   
the ,universe at the rear1 the group has
 the same inspirational quality1 the    
same sense of joyous effort1 of         
courageous striving toward achievement4 
,the placing of the monument where it   
closes three important vistas is        
commended for study to those who have in
 charge the artistic destinies of our   
cities4  ,palace of ,agriculture  ,the  
north facade of the ,palace of          
,agriculture is bare except for the     
central portal1 which again duplicates  
that of the ,palace of ,mines4  ,palace 
of ,food ,products  ,the north facade of
 this palace duplicates that of the     
,palace of ,agriculture4 ,but when one  

turns the west corner into              
,administration ,avenue1 one finds an   
entirely different atmosphere1 where the
 ,spanish architecture has given way to 
,italian4 ,the dominating feature of the
 building's west facade is an immense   
half-dome1 officially called ,the       
,half-dome of ,physical ,vigor4 ,this is
 an exact replica of the ,half-dome of  
,philosophy on the ,education ,palace4  
,sculpture4 ,before the half-dome here1 
on columns1 are replicas of ,ralph      
,stackpole's statue of the physically   
vigorous man in thought4 ,inside the    
half-dome is a repeated figure of a man 
with a wreath1 by ,earl ,cummings4  ,in 
the niches along the walls are two      
alternating compositions1 ,abundance and
 ,the ,triumph of the ,field1 by        
,charles ,r4 ,harley4 ,abundance is     
typified by a seated woman1 with the    
conventional overflowing cornucopias    
beside her1 as well as a conglomeration 
of details suggestive of the riches of  
land and sea4 ,this group certainly     

belongs to the ,food ,products building1
 but it really ought to be inside1 with 
the flowers made of butter and the tower
 of raisins4 ,the ,triumph of the ,field
 shows a man seated1 and around him a   
museum of ancient symbols of            
agriculture1 and of agricultural        
triumph1 such as were once carried in   
the annual harvest festivals4 ,these two
 groups are among the most amusing      
things at the ,exposition2 but          
artistically they can hardly be said to 
count at all4    ,the ,palace of        
,machinery    ,the ,palace of           
,machinery1 largest of all the          
structures at the ,exposition1          
terminates the main building axis at the
 ,east4 ,it is monumental in            
proportions1 and is well suited to its  
purpose of housing an immense display of
 machines4  ,architecture  ,the         
architecture was evidently inspired by  
the great baths of ancient ,rome1 which 
were similar in style1 size1 and detail4
 ,the scale is so great-this is said to 

be the largest wooden building in the   
world- that it is something of an       
achievement to have made the structure  
anything but barn like4 ,by the richness
 of the cornices and the careful spacing
 of the openings the architect has made 
it ornamental1 and has given it a sort  
of noble dignity-though one hesitates to
 compare it with the palaces of the     
central group4  ,the most interesting   
architectural bit in connection with the
 ,palace of ,machinery is the entrance  
vestibule under the three central       
archways4 ,standing at either end of the
 portico one obtains a remarkable       
impression of spaciousness combined with
 decorative completeness4 ,the coloring 
within the high vestibule is            
particularly pleasing4  ,within the     
building the unconcealed trussing1      
instead of giving a sense of barrenness 
and lack of finish1 resolves itself into
 a sort of lace-like decorative scheme1 
the whole effect being peculiarly       
ornamental4  ,the ,palace of ,machinery 

was designed by ,clarence ,r4 ,ward4    
,sculpture  ,the sculpture here consists
 of the series of four nude male figures
 on the column drums1 and spandrels for 
the main and minor doorways1 and a      
widely different group1 ,the ,genius of 
,creation1 before the main western      
portal4 ,all but the latter group       
represent ,types of ,power4  ,the       
figures surmounting columns1 flanking   
the three arches of the central doorway1
 represent ,steam ,power1 ,invention1   
,electricity1 and ,imagination4  ,steam 
is symbolized as a man holding a long   
lever4  ,invention is represented as a  
man holding forth a miniature winged    
figure at which he gazes steadily4  ,the
 figure of ,electricity holds jagged    
lightning1 conventional symbol of       
electricity4  ,imagination1 primal power
 back of all machinery design1 is       
represented by a figure with arm thrown 
back of head1 and seemingly with eyes   
closed4  ,considered simply as          
portrayals of power1 these four virile  

figures are very successful1 and they   
serve well to carry out the sense of    
immensity and strength that             
characterizes the entire building4 ,but 
they are not at all polished or subtle1 
lacking the refinement that would make  
them interesting as something besides   
vigorous types4 ,all four figures are by
 ,haig ,patigian4 ,they are repeated in 
different order on columns before the   
north and south portals of the building4
  ,the bas-relief friezes about the     
bases of the vestibule columns are also 
by ,haig ,patigian4 ,the winged figure1 
typifying ,machinery1 lends itself to   
decorative uses better than the purely  
human type1 and the artist has worked in
 various mechanical symbols quite       
cleverly4 ,the cardinal principle in    
sculptural decoration of this sort is   
that the frieze1 like the whole column1 
must carry an impression of support4 ,it
 will be noticed that no room has been  
left above the head or below the feet2  
and the disposition of the wings and    

arms further adds to the feeling that   
the figures are a true structural unit  
rather than mere ornament stuck on4     
,the spandrels over the minor arches in 
the vestibule1 again typifying          
,machinery1 are equally successful in   
serving an architectural purpose4 ,mural
 sculpture1 like mural painting1 must   
never be allowed to make a hole in the  
wall4 ,notice how fully the figures     
cover the given space1 without any      
background to draw the eye beyond the   
surface4 ,these spandrels are also by   
,haig ,patigian4 ,the column reliefs and
 the spandrels are repeated at the minor
 doorways of the building4  ,the ,genius
 of ,creation1 a magnificently conceived
 group of sculpture1 has been placed1   
rather unfortunately1 in front of the   
main west portal of the ,palace of      
,machinery4 ,it is by ,daniel ,chester  
,french1 who is generally considered the
 dean of ,american sculptors4 ,the      
,genius of ,creation is portrayed as a  
huge winged figure1 enthroned over the  

formless mass of earth1 with head bowed 
and arms outstretched1 calling human    
life into being4 ,at the two sides a man
 and a woman1 fine strong figures both1 
stand looking forth1 the man            
courageously1 the woman a little more   
timidly4 ,and at the back1 as if to     
signify the mutual dependence of man and
 woman1 the hands seek to touch4 ,a     
serpent encircles the base of the group1
 symbolizing wisdom-or as some prefer to
 interpret it1 everlasting life4 ,this  
serpent is probably not the one that had
 so much to do with the life of the     
first couple on earth4  ,the statue     
expresses1 of course1 the orthodox idea 
of creation1 and it is interesting to   
contrast it with the sculpture of the   
,court of ,abundance1 which in general  
gives expression to the doctrine of     
evolution4 ,the strong1 almost severe1  
motherly figure is finely religious in  
feeling4 ,the sculptor himself has      
commented on the religious tone that    
runs through much of the ,exposition    

sculpture1 remarking especially the     
prevalence of winged angel-figures4 ,the
 reader is left to decide how far this  
has resulted from the fact that the     
winged form is essentially decorative1  
and how far from reverence4  ,viewed    
entirely from the aesthetic side1       
without regard to the symbolism1 the    
,genius of ,creation is one of the most 
satisfying works on the grounds4 ,it is 
too bad that it was placed before a     
background of broken spaces1 and before 
a colorful facade that makes it seem    
pale4 ,but in it is that reposeful      
strength which characterizes so much of 
,french's work-a sense of completeness1 
of fullness1 that is perhaps the most   
soul-satisfying quality of great        
sculpture4    ,the ,south ,gardens1     
,festival ,hall1 and the ,palace of     
,horticulture    ,if there is one       
portion of the ,exposition building     
scheme that does not seem to belong to  
the main group of palaces1 it is that   
which lies south of the ,avenue of      

,palms1 including the ,south ,gardens1  
,festival ,hall1 and the ,palace of     
,horticulture4 ,the relation of the two 
buildings to the main courts and palaces
 is clear3 ,festival ,hall terminating  
the cross axis through the ,court of    
,abundance and the ,court of ,flowers2  
the ,palace of ,horticulture terminating
 the cross axis through the ,court of   
the ,four ,seasons and the ,court of    
,palms4 ,but though the organic         
relationship is apparent1 the least     
discriminating of critics can see that  
these buildings are of an architectural 
style not in harmony with the central   
group of palaces4 ,both structures lack 
that fine sense of proportion and that  
simple and impressive dignity which     
characterize the architecture of the    
courts2 and both are more or less       
pretentious and ornate4  ,the ,south    
,gardens  ,the ,south ,gardens1 like the
 buildings1 have a certain magnificence 
but at the same time lack any           
distinctive appeal4 ,the three basins   

with their fountains are imposing1 and  
the individual beds of flowers are      
gorgeous in their profuse massing of    
color2 but the distances are so great1  
and the sense of enclosure that means so
 much to gardens is so far lacking1 that
 the lover of formal gardening will be  
less satisfied here than at several     
other places in the grounds4            
,sculpture4 ,the sculpture of the ,south
 ,gardens is all on the three fountains4
 ,the immense central group1 the        
,fountain of ,energy1 already has been  
described4 ,in the other two basins the 
,mermaid ,fountain is repeated4 ,this is
 an attractively ornate bit of          
decorative design1 surmounted by the    
figure of a mermaid with a dolphin4 ,the
 figure was modeled from designs by     
,arthur ,putnam4 ,it is typical of the  
fine strength of his work1 and at the   
same time appealing by the grace of its 
sinuous lines4  ,festival ,hall         
,festival ,hall1 designed for the many  
conventions and musical festivals of the

 ,exposition period1 is of typically    
,french architecture of the modern      
school4 ,the building is not unpleasing1
 but there is little about it to hold   
the interest4 ,robert ,farquhar was the 
architect4  ,sculpture4 ,all the        
sculpture on ,festival ,hall is the work
 of ,sherry ,e4 ,fry4 ,the figures are  
well suited to their purpose1 from the  
slender ,torch-,bearer1 surmounting the 
minor domes1 to the heavy reclining     
figures on the pylons at the main       
entrance4 ,most of the statues are too  
roughly finished to have more than a    
decorative interest1 but the two groups 
flanking the main stairway are worthy of
 study4 ,these two ,flower ,girls1 one  
on either side1 have a beautiful flowing
 grace4 ,but quite the most appealing   
things here are the two minor figures   
before the pedestals on which the       
,flower ,girls stand4 ,before the one at
 the north is a captivating boy ,pan    
with a lizard4 ,half hidden in the      
shrubbery at the other side is the      

sitting figure of a girl1 attractively  
immature and charming in line4  ,palace 
of ,horticulture  ,the ,palace of       
,horticulture is characterized by that  
combination of ,eastern and ,western    
architectural motives which is so       
noticeable throughout the buildings4    
,the dome is ,byzantine1 while the rest 
of the building is of ,renaissance1 or  
modern1 ,french architecture4 ,the dome 
considered alone is an almost perfect   
bit of design1 beautifully proportioned 
and finely simple4 ,the rest of the     
building is in general over-decorated1  
the portals especially being heavily    
loaded down with meaningless ornament4  
,apologists for the building say that   
the profuse ornateness rightly suggests 
the richness of ,california's           
horticulture4 ,perhaps the best view of 
the dome is from the east end of the    
,avenue of the ,nations1 near the       
,denmark building1 because from there   
one can see it unobstructed1 escaping   
the disturbing effect of the portals and

 their spires4 ,the ,palace of          
,horticulture was designed by ,bakewell 
and ,brown of ,san ,francisco4          
,sculpture4 ,all of the sculpture here  
is purely decorative4 ,the frieze at the
 base of each spire1 consisting of heavy
 female figures modeled in pairs1 is by 
,e4 ,l4 ,boutier4 ,the ornamental       
,caryatides of the porches are by ,john 
,bateman4    ,palace of ,fine ,arts     
,the ,fine ,arts ,palace has been more  
admired1 probably1 than any other       
architectural unit at the ,exposition4  
,the reasons are not far to seek4 ,the  
architect has used those classic forms  
which for ages have been recognized as  
best suited to monumental structures1   
and yet he has used them with           
originality4 ,the building is           
classically noble1 but without classic  
austerity or coldness4 ,it is at once   
beautiful in form1 rich in decorative   
detail1 and satisfyingly warm in color4 
,moreover1 it has the finest setting of 
all the ,exposition buildings4 ,the     

bigness of conception1 the boldness with
 which the largest architectural        
elements have been handled1 the perfect 
arrangement of architecture1 planting1  
and reflecting waters-all these combine 
to create the most compelling picture on
 the grounds4  ,the arrangement of the  
building is deceptive4 ,as one looks at 
it across the lagoon1 it seems like a   
single unit1 so well does the planting  
tie it together1 though there are really
 four unconnected structures3 the       
rotunda1 two detached peristyles at the 
sides1 and the art gallery proper at the
 back4  ,architecture  ,the style of    
architecture is ,classic1 freely        
treated4 ,the rotunda is ,roman4 ,the   
peristyle is more ,greek in feeling1 in 
the simplicity of general form1 with    
splendidly modeled capitals1 full strong
 columns1 and dignified cornice4 ,the   
curved facade of the main building1     
facing the rotunda and peristyle1 is    
very original in its arrangement of     
classic architectural motives and masses

 of foliage1 with a ,pompeian pergola on
 top4  ,the color scheme of the whole   
building is worthy of study4 ,and       
although the structure when seen by day 
deserves all the praise that has been   
bestowed upon it1 by night its beauty is
 beyond description4 ,one should sit    
long at the edge of the lagoon opposite 
the rotunda1 and watch the illuminated  
building itself and its reflection in   
the waters below1 to feel the full spell
 of it4 ,no one should miss1 either1 the
 walk between the peristyle and the main
 building on one of those nights when   
there is soft local illumination1 for   
nowhere else on the grounds has the     
poetry of lighting been so perfectly    
realized4  ,the architect of the ,fine  
,arts ,palace was ,bernard ,r4 ,maybeck1
 a ,californian4  ,sculpture  ,the      
sculpture about the lagoon1 including   
that under the peristyle and rotunda1 is
 to be treated in the next chapter1     
except that which is definitely a part  
of the building's integral decorative   

scheme4  ,the reliefs outside the       
rotunda1 on the attic above the cornice1
 represent man's effort to gain the     
ideal of art4 ,to see these reliefs     
best1 one should stand directly across  
the lagoon from the rotunda4 ,in the    
panel facing ,east one sees the figure  
of ,art personified4 ,on either side is 
a group showing the champions of art    
combating centaurs1 that stand for the  
commonplace1 materialistic things of    
life4 ,in the next panel to the left1   
facing ,southeast1 is represented the   
bridling of the winged horse ,pegasus1  
which to the ,greeks symbolized the     
attainment of poetic inspiration4 ,here 
also are figures representing the arts  
of literature1 sculpture and music1 by  
the familiar symbols1 a lamp1 a         
statuette and a lute4 ,the panel to the 
right of the center one shows ,apollo1  
sun-god and patron-god of the arts1     
drawn in his chariot1 with a procession 
of devotees4 ,these panels are repeated 
on the other five faces about the dome4 

,they are among the finest reliefs on   
the ,exposition buildings1 and are by   
,bruno ,louis ,zimm4  ,the figures      
within the rotunda1 surmounting the     
eight columns are ,priestesses of       
,culture1 by ,herbert ,adams4  ,the     
flower-box sculptures are by ,ulric ,h4 
,ellerhusen-both those on the ground and
 those at the corners of the boxes      
surmounting the peristyle4 ,the ladies  
on the latter1 looking so steadily into 
the boxes1 do not represent ,curiosity4 
,the plan was to have masses of foliage 
overflowing1 and half-covering the      
figures2 and when this was given up1 the
 decorative women gave the unexpected   
impression of being deeply absorbed in  
something happening out of sight of the 
spectator below4 ,an explanation which  
has gained some currency is that the    
figures represent ,introspection1 which 
seems quite apropos4  ,the kneeling     
figure 7unnamed7 on the edge of the     
lagoon before the rotunda is by ,ralph  
,stackpole4 ,it is one of the most      

appealing bits of all the ,exposition   
sculpture1 well expressing devotion and 
reverence4 ,it cannot be reached from   
the rotunda side1 this portion of the   
shore being closed to the public4  ,the 
figure over the doorway of the gallery  
is ,leo ,lentelli's ,aspiration4 ,during
 the early months of the ,exposition    
this statue was suspended from behind1  
the base on which it now stands having  
been placed late in the ,spring4 ,as the
 figure first appeared1 hanging in air1 
it caused more comment than any other   
sculpture on the grounds4 ,the most     
appropriate explanation was that since  
the figure lacked any visible means of  
support it probably was meant to        
represent ,california ,art4 ,even the   
recent alterations have failed to save  
it from seeming graceless and out of    
place4  ,mural ,paintings  ,the eight   
panels in the dome of the rotunda are by
 ,robert ,reid4 ,there are two series of
 four paintings each1 called ,the ,birth
 and ,influence of ,art1 and ,the ,four 

,gold's of ,california4 ,they form      
perhaps the least interesting of the    
several groups of murals1 being vague in
 meaning1 unpleasantly restless in      
composition1 and only occasionally      
attractive in coloring4  ,the easiest   
panel to identify is that called ,the   
,birth of ,oriental ,art1 which is on   
the west wall1 closest to the doorway of
 the main building4 ,starting with this 
and following around the dome to the    
right1 the pictures are in this order3  
#a4 ,the ,birth of ,oriental ,art4 ,a   
man in armor on a fanciful1 dragon is   
attacking an eagle1 symbolizing man's   
effort to attain the inspiration of the 
heavens4 ,below1 ,china can be          
recognized in the man with a brilliant  
colored robe1 and ,japan in the woman   
with the bright parasol4  #b4 ,gold is  
symbolized by a woman with a wand1 on a 
cornucopia overflowing with gold4  #c4  
,the ,ideals of ,all ,art4 ,the ideals  
which animate artists are shown3 ,truth 
with her glass2 ,religion typified in   

the ,madonna and child2 ,beauty1 with   
the peacock2 and the ,militant ,ideal   
with a flag4 ,above and below are       
figures carrying the wreath and the     
palm1 the artist's tokens of success in 
attaining the ideal4  #d4 ,poppies1 the 
second gold of ,california4  #e4 ,the   
,birth of ,european ,art4 ,four figures 
surround an altar on which burns the    
sacred fire1 three being merely         
attendants preserving the flame1 and the
 fourth the guardian holding high a     
torch lit at the altar4 ,a man from     
earth grasps this torch as he leans from
 his flying chariot4 ,a woman in the    
lower corner holds a crystal            
gazing-globe1 wherein the future of art 
has been revealed1 and she turns to gaze
 after the man who is carrying the      
sacred fire to earth4  #f4 ,citrus      
,fruits1 the third gold of ,california4 
#g4 ,the ,inspiration of ,all ,art4 ,two
 ,angels of ,inspiration are at the top1
 while below to the left are ,sculpture1
 with a winged statuette1 and           

,architecture1 with the scroll and      
compass2 and to the right1 ,painting1   
with brush and palette1 ,music1 with a  
lyre1 and ,poetry1 with a book4  #h4    
,wheat1 the fourth gold of ,california4 
,the ,outdoor ,gallery of ,sculpture    
,many of the finest bronzes and marbles 
of the sculpture section are given an   
adequate setting which would be         
impossible within the gallery building1 
by being placed in the open1 along the  
two ends of the lagoon1 through the     
peristyles1 and under the ,fine ,arts   
rotunda4  ,as this group of sculpture   
embraces all types from the playful to  
the very serious1 it is foolish to try  
to appreciate the whole series at one   
time4 ,perhaps the best way is to start 
first to familiarize oneself with the   
smaller bronzes of the purely lyric     
type1 the charming garden figures1      
sun-dials1 and miniature fountains1 that
 make up such an attractive part of the 
collection4 ,note how often the names of
 ,edward ,berge1 ,janet ,scudder and    

,anna ,coleman ,ladd recur in connection
 with this graceful1 intimately         
appealing sort of sculpture4 ,on another
 day1 when life seems soberer1 spend all
 your time in study of the more serious 
works1 such as ,saint ,gaudens' ,seated 
,lincoln1 and ,mc,kenzie's ,the ,young  
,franklin1 noting how the dignity1      
sureness of touch1 and sound purpose of 
these make them more appealing with     
longer acquaintance4 ,on another day    
take the intermediate group1 that is    
dignified but less austere in theme-such
 works as ,sherry ,fry's ,peace1 and    
,berge's ,muse ,finding the ,head of    
,orpheus4 ,studied systematically1 there
 is in this series of statues a broad   
education in the appreciation of        
sculpture4  ,for convenience in         
reference the whole series is listed    
here4 ,in regard to those works which   
the labels make self-explanatory1 no    
comment is added1 unless to call        
attention to some special quality which 
the unpracticed eye might miss4 ,where  

the symbolism or story is obscure1 an   
explanation is given4  ,south of the    
lagoon are3 #a4 ,sea ,lions by          
,frederick ,g4 ,r4 ,roth4 #b4 ,the      
,scout by ,cyrus ,e4 ,dallin4 ,note the 
remarkable clean-cut quality of this    
equestrian statue4 #c4 ,wind and ,spray 
fountain1 by ,anna ,coleman ,ladd4 #d4  
,diana by ,haig ,patigian-a graceful    
statue of the ,greek goddess of the     
hunt1 which is in marked contrast to the
 same artist's strong figures on the    
,palace of ,machinery4 #e4 ,peace by    
,sherry ,e4 ,fry4 ,this beautifully     
modeled figure has a classic simplicity 
that is worthy of study4 #f4 ,american  
,bison by ,a4 ,p4 ,proctor4  ,beyond the
 second ,bison1 beside the roadway that 
runs behind the ,fine ,arts ,palace1 is 
a model of the ,kirkpatrick ,monument1  
at ,syracuse1 ,new ,york1 by ,gail      
,sherman ,corbett4 ,the central figures 
represent an ,indian discovering to a   
,jesuit priest the waters of an historic
 salt spring at ,syracuse4  ,in the     

circle at the south end of the peristyle
 are3 #a4 ,seated ,lincoln by ,augustus 
,st4 ,gaudens generally considered one  
of the noblest works of the greatest    
,american sculptor4 ,note especially the
 dignity of the whole1 and the          
sympathetic modeling of the face4 #b4   
,bust of ,halsey ,c4 ,ives by ,victor   
,s4 ,holm4 #c4 ,bust of ,william ,howard
 ,taft by ,robert ,aitken4 #d4 ,henry   
,ward ,beecher by ,john ,quincy ,adams  
,ward-a dignified and well-known        
life-size statue4  ,along the south     
peristyle are 7at the right7 #a4 ,piping
 ,pan by ,louis ,st4 ,gaudens4 #b4      
,flying ,cupid by ,janet ,scudder4 #c4  
,muse ,finding the ,head of ,orpheus by 
,edward ,berge-a marble well expressive 
of gentle grief4 ,orpheus1 sweetest     
musician of ,greek mythology1 after     
failing to recover his beloved ,eurydice
 from the underworld1 in his sorrow     
scorned the ,thracian nymphs1 who in    
their anger dismembered him4 ,his head  
was washed up by the sea and found by   

the sorrowing ,muses4 #d4 7,at the left7
 ,michael ,angelo by ,robert ,aitken1   
showing the master-sculpture at work on 
one of his famous figures4 #e4 7,at the 
right7 ,young ,pan by ,janet ,scudder4  
#f4 7,at the left7 ,wood ,nymph by      
,isidore ,konti4 #g4 ,young ,mother with
 ,child by ,furio ,piccirilli4 #h4 7,at 
the right7 ,wild ,flower by ,edward     
,berge4 #i4 7,at the left7 ,eurydice by 
,furio ,piccirilli4 #aj4 7,at the right7
 ,boy and ,frog by ,edward ,berge4 #aa4 
7,at the left7 ,dancing ,nymphs by ,olin
 ,l4 ,warner4 #ab4 ,idyl by ,olga       
,popoff ,muller4 #ac4 ,an ,outcast by   
,attilio ,piccirilli4 #ad4 7,beside the 
doorway7 ,youth by ,charles ,carey      
,rumsey4 ,before the doorway is to be   
placed ,the ,pioneer ,mother ,monument  
by ,charles ,grafly4  ,about the rotunda
 are3 #a4 7,outside the southwest       
archway7 ,thomas ,jefferson by ,karl    
,bitter4 #b4 7,in center of rotunda7    
,lafayette by ,paul ,wayland            
,bartlett-the statue given by ,america  

to ,france4 #c4 ,lincoln by ,daniel     
,chester ,french1 a dignified portrayal 
that cannot be justly judged from the   
plaster model here exhibited4 #d4       
,relief by ,richard ,h4 ,recchia1       
representing ,architecture4 #e4         
,commodore ,barry ,memorial by ,john ,j4
 ,boyle4 #f4 ,relief by ,richard ,h4    
,recchia1 representing ,architecture4   
#g4 ,princeton ,student ,memorial by    
,daniel ,chester ,french a noble        
treatment of a difficult theme4 #h4 ,the
 ,young ,franklin by ,robert ,tait      
,mc,kenzie4 ,this is a fine conception1 
in which the sculptor has escaped from  
the conventional path of monumental     
portraiture4 #i4 7,on walls of west     
archway7 ,reliefs by ,bela ,l4 ,pratt1  
representing ,sculpture4 #aj4 7,outside 
west archway7 ,portrait of a ,boy by    
,albin ,polasek4 #aa4 ,the ,awakening by
 ,lindsey ,morris ,sterling4 #ab4       
7,beside northwest archway7 ,william    
,cullen ,bryant by ,herbert ,adams4     
,along the north peristyle are3 #a4     

7,beside main doorway of gallery7       
,beyond by ,chester ,beach4 #b4 ,the    
,sower by ,albin ,polasek4 #c4 ,the     
,centaur by ,olga ,popoff ,muller4 #d4  
,boy with ,fish by ,bela ,l4 ,pratt4 #e4
 7,at the right7 ,returning from the    
,hunt by ,john ,j4 ,boyle4 #f4 7,at the 
left7 ,l',amour by ,evelyn ,beatrice    
,longman-a marble wherein the woman's   
figure is tenderly beautiful4 #g4       
,garden ,figure by ,edith ,woodman      
,burroughs4 #h4 7,at the right7         
,fighting ,boys ,fountain by ,janet     
,scudder4 #i4 ,soldier of ,marathon by  
,paul ,noquet4 #aj4 7,at the left7      
,youth by ,victor ,d4 ,salvatore4 #aa4  
7,at the right7 ,primitive ,man by ,olga
 ,popoff ,muller4 #ab4 ,the ,scalp by   
,edward ,berge-an unpleasant bit of     
realism4 #ac4 7,at the left7 ,apollo by 
,haig ,patigian4 #ad4 7,at the right7 ,a
 ,faun's ,toilet by ,attilio            
,piccirilli4 #ae4 ,duck ,baby ,fountain 
by ,edith ,barretto ,parsons4 #af4      
,maiden of the ,roman ,campagna by      

,albin ,polasek-a figure instinct with  
the spirit of the antique4  ,on the     
circle at the north end of the peristyle
 are3 #a4 7,at the right7 ,young ,diana 
by ,janet ,scudder-a young goddess of   
the hunt1 conceived in modern spirit1   
with remarkable freedom and grace of    
movement4 #b4 ,great ,danes by ,anna    
,vaughan ,hyatt4 #c4 7,in walk7 ,sundial
 by ,harriet ,w4 ,frishmuth4 #d4        
,bondage by ,carl ,augustus ,heber4 #e4 
,boy ,pan with ,frog by ,clement ,j4    
,barnhorn4 #f4 ,sundial by ,gail        
,sherman ,corbett4 #g4 ,three fountain  
groups in one basin1 all by ,anna       
,coleman ,ladd4 ,of these the ,sun ,god 
and ,python has been especially admired 
as a spirited and graceful bit of work4 
#h4 7,on the lagoon side of the circle7 
,mother of the ,dead by ,c4 ,s4         
,pietro-a sincere and powerfully        
realistic work1 and quite unlike        
anything else in the outdoor gallery4   
#i4 7,in walk7 ,chief ,justice ,marshall
 by ,herbert ,adams4 #aj4 ,destiny by   

,c4 ,percival ,dietsch4 #aa4 ,sundial by
 ,edward ,berge4 #ab3 ,daughter of ,pan 
by ,r4 ,hinton ,perry4 #ac4 ,head of    
,lincoln by ,adolph ,a4 ,weinman4       
,along the roadway to the left1 as one  
leaves the circle1 are two sculptures3  
,bird ,fountain by ,caroline ,risque1   
and ,prima ,mater by ,victor ,s4 ,holm4 
,north of the lagoon are3 #a4 ,fragment 
of the ,fountain of ,time by ,lorado    
,taft4 #b4 ,nymph by ,edmond ,t4 ,quinn4
 #c4 ,dying ,lion by ,paul ,wayland     
,bartlett4 #d4 ,rock and ,flower ,group 
by ,anna ,coleman ,ladd4 #e4 ,whale-man 
by ,bela ,l4 ,pratt4  ,on the island at 
the north end of the lagoon is a        
fountain by ,robert ,paine4    ,the     
,fine ,arts ,galleries    ,do not visit 
the ,fine ,arts exhibits blindly1       
without knowing what they are aimed to  
show2 and do not try to see the whole   
exhibition in one day4 ,first understand
 the scope and arrangement of the       
displays1 and then follow some definite 
system by which you are sure to get the 

best out of each individual section4 ,it
 is better to see one part thoroughly   
than to carry away a confused impression
 of the whole4  ,the scope of the       
exhibit is limited to painting1         
sculpture and print-making1 except in   
the ,oriental sections4 ,in painting the
 primary aim has been to make a         
representative display of contemporary  
work4 ,most of the galleries contain    
only canvases painted within the last   
ten years4 ,but in order to correct the 
common misconception that ,american art 
is entirely a thing of today1 without   
historical background1 a few rooms are  
given up to historic works of the       
various early ,american schools1 and to 
works of the foreign schools that have  
influenced the development of ,american 
art4  ,the arrangement of the galleries 
should be mastered before one starts to 
study4 ,in general there are three      
divisions of exhibits4 ,at each end is a
 group of foreign sections1 and the     
great middle space is given up to       

,american art4 ,the accompanying diagram
 is designed primarily to make clear the
 location of the several divisions4 ,the
 visitor will find it worth while to    
remember that a main central corridor   
runs the whole length of the ,united    
,states ,section4 ,by continually       
referring to this corridor1 one can keep
 one's bearings fairly well4  ,the      
method of seeing the galleries that is  
suggested in this guide is based on the 
official classification as far as       
possible3 the foreign sections are taken
 in order1 and the historical section is
 treated in that chronological sequence 
which the directors intended to show    
forth4 ,but there is no system in the   
arrangement of the twenty-eight general 
rooms of contemporary ,american work1   
,in treating these the guide aims to    
suggest tendencies and influences1      
rather than to point out this or that   
canvas as a good or bad one4            
,nevertheless it is believed that every 
really important picture or artist is   

individually mentioned-so that one who  
has used the manual consistently may be 
sure of having enjoyed the cream of the 
collection1 at the same time gaining the
 wider knowledge of the main currents of
 development4  ,it is necessary to use  
to a certain extent the arbitrary       
subject-divisions1 such as portrait1    
landscape1 and figure painting2 and to  
refer also to realistic painting1 which 
tends to depict things as they are1 as  
opposed to the academic1 which          
recognizes the wisdom of                
conventionalization or idealization4    
,but the most important distinction1 for
 the student of contemporary tendencies1
 is that which concerns the term        
,impressionism4 ,this name in its       
original and technical sense applied to 
the works of the men who1 instead of    
mixing shades1 placed different colors  
side by side on their canvases to give  
the effect of the right shade at a      
distance4 ,as the experiments of these  
artists were directed chiefly to the    

solution of problems of light1 the term 
naturally was widened to include that   
whole division of painting which is     
concerned with atmospheric aspects and  
color harmonies rather than with        
subject-interest and line composition4  
,terms which express the same idea in   
general or in part1 are luminism and    
plein-air painting4 ,impressionism has  
had more effect on the current of art   
than has any other movement in history4 
,not only in the handling of light and  
in freshness of coloring has the whole  
of painting been profoundly changed1 but
 there is a general tendency to paint   
the impression rather than the          
actuality1 the harmonious effect rather 
than the literal fact-and these things  
are notably illustrated in the          
,exposition galleries4  ,for the sake of
 the visitor who comes to the gallery   
with practically no knowledge of art1 a 
word may profitably be said about       
critical standards4 ,first remember that
 there are many qualities which may make

 a painting worth while3 pleasing       
design1 beautiful color1 a compelling   
expression of emotion or thought1 or a  
poetic suggestion of a fleeting aspect  
or mood4 ,it is necessary to judge each 
particular work by the artist's         
intention1 and not by untrained personal
 tastes4 ,before passing judgment learn 
to know the picture well4 ,you may find 
that you have been attracted by         
something superficial4 ,on the other    
hand1 you may find that the seemingly   
less attractive picture1 which has been 
recommended by people of trained        
judgment1 grows more and more pleasing  
with riper acquaintance4 ,go slowly1    
study thoroughly what you study1 and    
keep an open mind-for that way leads to 
the widest enjoyment4  ,united ,states  
,section3 ,painting  ,the ,united       
,states ,section consists chiefly of    
contemporary work1 but includes a small 
historical section1 which is to be found
 to the left as one enters at the main  
doorway4 ,it is in this part of the     

exhibit that one should start4  ,the    
,historical ,section consists of two    
well-defined parts4 ,the first contains 
examples of foreign schools of painting 
that have influenced ,american art4 ,the
 second contains the works of ,american 
painters from the beginnings to the     
early ,twentieth ,century4 ,the ,foreign
 ,historical ,section occupies rooms    
#ia-ib and #fa-fc4  ,gallery #ia-;,early
 ,schools4 ,a gallery of old paintings1 
chiefly of the ,italian1 ,flemish and   
,dutch ,schools1 designed to suggest the
 earliest roots of ,american art4       
,practically all the canvases are mere  
echoes of the old masters1 and they may 
well be passed over hastily by all but  
the most thorough historical student4   
,gallery #ib-;,french ,influence4 ,this 
gallery and the next two are designed to
 show works of those schools1 chiefly   
,french1 that have had direct influence 
upon ,american art4 ,on wall ,a is a    
painting by ,courbet1 interesting in the
 light of that artist's influence on    

,whistler's early work4 ,but most       
important here are the examples of the  
,barbizon ,school1 romantic landscape   
painters of the mid-,nineteenth         
,century1 who had much to do with the   
development of the ,inness-,wyant group 
in ,america4 ,on wall ,b are two        
canvases by ,corot1 both badly placed1  
one of which 7#adhf7 is typically poetic
 and beautiful4 ,the examples by        
,daubigny and ,rousseau on wall ,c are  
not satisfying4 ,on wall ,d the two     
,monticellis suggest the source of some 
of the rich qualities of the work of    
,keith and similar ,american painters4  
,gallery #fb1 adjoining #ib1 shows the  
best example of ,barbizon work1 in      
,troyon's beautiful ,landscape and      
,cattle on wall ,c4 ,on wall ,a is a    
small painting1 interesting but not     
characteristic1 by ,millet1 who         
influenced the whole world of art toward
 sincerity4 ,on wall ,b is ,sir ,laurens
 ,alma-,tadema's ,among the ,ruins1 sole
 representative here of the ,english    

,school of polished painters that       
strongly influenced a number of         
,american artists4 ,on wall ,d are two  
very interesting portrait studies by    
,franz von ,lenbach1 intended to suggest
 the influence of the ,munich ,school on
 ,american art1 before ,americans began 
to flock to ,paris to study4  ,gallery  
#fa-,recent ,french ,influence4 ,on wall
 ,a is an uneven collection by ,monet1  
the greatest apostle of ,impressionism4 
,this group1 with the exception perhaps 
of the sea-shore scene1 should be       
studied thoroughly1 in regard to the    
technique that juxtaposes colors to give
 the right resultant tone at a distance2
 in regard to the general tendency to   
subordinate subject interest to the     
expression of fleeting aspects2 and in  
regard to the masterly handling of      
light4 ,no other group will be referred 
to so often in connection with the      
,american galleries4 ,on wall ,b is a   
typically joyous canvas by ,gaston ,la  
,touche1 who carries ,impressionism into

 figure work4 ,on walls ,c and ,d are   
other examples of the ,impressionist    
,school1 by ,pissarro and ,renoir and   
the ,english ,sisley4 ,on wall ,c is a  
portrait by ,eugene ,carriere4 ,on wall 
,d is a panel by ,puvis de ,chavannes1  
who has influenced modern mural painting
 more than any other artist4 ,this      
picture has the typical union of the    
classic feeling with very modern        
technique1 but it is representative of  
de ,chavannes' manner rather than of his
 whole art at its best4  ,gallery       
#fc-;,english ,influence4 ,this is the  
richest of the historical rooms4        
,although there is a scattered          
collection including the names of ,van  
,dyke1 ,guido ,reni1 ,tiepolo1 ,ribera1 
,velasquez1 ,goya1 and ,turner1 on walls
 ,a and ,b1 the important thing is the  
fine collection of the ,english         
portraitists4 ,here are examples1 many  
of them among the finest1 by ,hogarth1  
,reynolds1 ,gainsborough1 ,romney1      
,lawrence1 and ,hoppner4 ,it is hardly  

necessary to point out the close        
connection between the work of this     
,english group and early ,american      
painting1 since a visit to the adjoining
 gallery #fj will show how the first    
important development in the ,states    
grew out of the art of the mother       
country4  ,the ,american ,historical    
,section covers the entire development  
of ,american painting from the beginning
 to the early years of the present      
century4 ,to obtain the proper sequence1
 one should start in room #fj1 working  
gradually down to #eg1 then visiting #fd
 and #ed4  ,gallery #fj contains a      
profusion of fine examples of the early 
portrait school1 which was so closely   
connected with ,english art of the time4
 ,gilbert ,stuart1 the most important   
figure1 is represented by an extensive  
collection on wall ,a4 ,in this room1   
too1 are canvases by ,west1 ,peale1     
,copley1 and their followers well into  
the ,nineteenth ,century4  ,gallery #ei 
contains chiefly the work of that barren

 mid-century period when portraiture and
 landscape painting alike became hard   
and labored4 ,insofar as any foreign    
influences can be detected here1 they   
are of the tight schools of ,england and
 ,germany4  ,gallery #eh contains some  
interesting work of the latter half of  
the ,nineteenth ,century-notably the    
paintings by ,eastman ,johnson1 an      
important figure of the time when       
,american art was finding itself4       
,albert ,bierstadt's two landscapes are 
typical of the so-called ,hudson ,river 
,school1 the mechanical forerunner of   
the ,inness-,wyant group4 ,an           
interesting contrast is offered here by 
,h4 ,j4 ,breuer's ,santa ,inez          
,mountains1 a contemporary landscape    
that is full of the freshness and light 
of present-day ,american painting4      
,gallery #eg shows another great step in
 advance4 ,a generous portion of the    
space is given to ,edwin ,a4 ,abbey1 an 
,american-born artist who really was    
more a part of ,english art4 ,the       

exhibit shows clearly that ,abbey was   
greater as illustrator than as painter1 
the finest things here being the        
exquisite pen drawings4 ,wall ,d has    
five paintings by ,john ,la,farge1 who  
by his work and by his theories greatly 
influenced ,american art at the end of  
the century4 ,worthy of study1 too1 are 
the more modern landscapes of ,theodore 
,robinson4  ,from this room one should  
turn back into the central line of      
galleries4  ,gallery #fd contains       
historical ,american paintings that     
range through the latter half of the    
last century and into this1 with such   
well-known names as ,parrish1 ,gifford1 
,hunt1 ,wylie1 ,martin1 the ,morans1    
,eakins1 and even the more recent       
,frederic ,remington4 ,such pictures as 
,f4 ,e4 ,church's ,niagara ,falls 7wall 
,a71 ,j4 ,g4 ,brown's ,the ,detective   
,story 7wall ,b71 and ,thomas           
,hovenden's ,breaking ,home ,ties 7wall 
,d71 are typical of what was accepted as
 the best work a generation or two ago4 

,passing through room #fe1 one should   
next go to #ed4  ,gallery #ed is the    
most important in the ,american         
,historical ,section1 for it shows the  
work of the men who really emancipated  
,american painting from the old hardness
 and tightness of technique1 and from   
the old sentimentalism4 ,wall ,a is     
given up to the work of the late        
,winslow ,homer1 who has been called the
 most ,american of painters4 ,the       
seashore scenes alone of the things here
 are representative of this big man at  
his best4 ,wall ,b has a varied         
assortment by lesser painters1 but ones 
of importance3 ,blakelock1 ,currier1    
,william ,morris ,hunt1 and ,fuller4 ,on
 walls ,c and ,d the very important     
canvases are those by ,inness and       
,wyant1 men who were deeply influenced  
by the ,french ,barbizon ,school1 but   
whose individual achievement marked the 
first great stride toward the bigness1  
freedom and lightness of present-day    
,american landscape painting4           

,contemporary ,american ,painting4      
,leaving aside the one-man rooms for the
 present1 it is just as well to turn    
from the last historical room1 #ed1 into
 #ee1 and progress in natural order     
through #ef1 #fe1 #he1 #ff 7the central 
hall71 and #hj4 ,the contemporary rooms 
north of the central hall can be best   
visited in three groups1 each following 
the official room numbering3 first1 #fg 
to #gd2 then #dc to #ea2 and finally the
 detached section at the far north end  
of the building1 #aag to #abj4  ,gallery
 #ee has a well assorted collection of  
contemporary canvases1 but includes no  
outstanding features4  ,gallery #ef is a
 typical modern ,american room1 with    
good landscapes in the work of ,breuer1 
,borg1 ,davol1 and ,stokes4  ,gallery   
#fe contains some of the best ,american 
figure paintings in the building4 ,the  
finest group is that by ,cecilia ,beaux 
on wall ,d1 which well displays that    
remarkable artist's brilliant technique 
and flair4 ,it is notable how many of   

the really virile paintings here are by 
women -many of them of the younger      
groups4 ,from ,marion ,pooke's polished 
but free ,silhouettes1 and ,alice ,kent 
,stoddard's appealing ,sisters1 to ,m4  
,jean ,mc,lane's joyously brilliant     
canvases on wall ,c1 there is a wide    
range of achievement and promise4       
,gallery #he4 ,on walls ,a and ,b are   
five canvases by ,horatio ,walker that  
are worthy of attention4 ,but finer are 
,charles ,w4 ,hawthorne's four paintings
 on walls ,b and ,d4 ,their bigness of  
conception1 sincerity and soundness of  
technique mark a coming master4 ,wall ,c
 is given up to a display by ,charles   
,walter ,stetson1 which shows1 more     
strongly than any other in the ,american
 section1 that tendency to the          
decorative and the idyllic which is to  
be noted as so strong in recent         
painting4 ,on wall ,d are three works of
 ,george de,forest ,brush1 a man who has
 been but little influenced by the more 
radical tendencies4 ,the ,potter is     

interesting for the painstaking and     
minute finish of varying surface        
textures4  ,gallery #ff-;,central ,hall4
 ,although the important places here are
 given to sculpture1 there are a few    
very interesting paintings3 some        
representative landscapes1 and at the   
ends decorative panels by ,alexander    
,harrison and by ,howard ,cushing4      
,gallery #hj is notable for the work of 
painters who have followed rather       
closely the old academic traditions3 for
 the smooth and polished canvases of ,w4
 ,m4 ,paxton and ,philip ,leslie ,hale4 
,there are also seven landscapes by     
,willard ,l4 ,metcalf1 fresh attractive 
work of the plein-air school4  ,gallery 
#fg is rich in fine landscapes1 and     
contains the best of the exhibition's   
marines4 ,here are the only works of    
,charles ,h4 ,davis1 a notable follower 
of the poetic ,inness ,school1 and of   
,leonard ,ochtman and ,ben ,foster1 who 
stand well to the fore among the more   
vigorous landscapists4 ,also worthy of  

attention are the landscapes of ,braun1 
,borg1 ,white1 ,wendt1 ,j4 ,f4 ,carlson1
 ,rosen and ,browne4 ,the marines       
represent well a department of painting 
in which ,americans have long excelled2 
on wall ,a are four by ,paul ,dougherty1
 on ,b and ,c three by ,frederick ,j4   
,waugh1 and on ,d one by ,emil ,carlsen4
 ,of the other paintings the most       
interesting is the idyllic bit by ,hugo 
,ballin on wall ,c1 representative of   
the decorative tendency4  ,gallery #fh  
contains as its most important exhibit  
three portraits by ,j4 ,c4 ,johansen1 on
 wall ,b1 all typical of the brilliant  
fluency of this remarkable painter4     
,among the landscapes here the most     
important are the two ,schofields on    
wall ,d1 typical of the best and sanest 
phase of ,impressionism in ,america4    
,very important too are the canvases by 
,daniel ,garber on wall ,c4  ,gallery   
#fi contains a mixed collection1 with   
such different good things as ,lawton   
,parker's polished figure studies 7wall 

,b7 and ,j4 ,francis ,murphy's poetic   
landscape 7wall ,c74 ,on wall ,c is a   
painting by ,john ,w4 ,alexander1 one of
 the leaders in ,american art1 which is 
typical of his method of subordinating  
subject interest to line arrangement and
 color composition4  ,gallery           
#gj-,portrait ,room4 ,on wall ,c are    
three portraits by ,irving ,r4 ,wiles1  
and on ,d two by ,julian ,story-both    
names long well-known in ,american art4 
,but the surprising thing is that       
several of the canvases by less known   
men stand up with1 or even surpass1     
these4  ,gallery #ga is notable chiefly 
for some good landscapes4  ,gallery #gb 
contains little to hold the attention1  
unless it is the group of canvases by   
,walter ,mc,ewen1 who shows adherence to
 the older traditions1 not only in      
smoothness of technique1 but in         
sentimentalism and general prettiness4  
,gallery #gc is given up chiefly to     
,alson ,clark's over-sketchy and        
intemperately colored ,panama pictures4 

,the most interesting thing here is     
,ernest ,lawson's ,beginning of ,winter1
 on wall ,b1 a representative work by   
one of the most successful ,american    
followers of ,impressionism4  ,gallery  
#gd is a room of good landscapes1 with a
 few outstanding canvases like ,will ,s4
 ,robinson's ,group of ,white ,birches  
on wall ,c4   ,a new start should be    
made here by passing through rooms #gj  
and #ga to #dc1 from which the numerical
 order can be followed back to room #ea1
 adjoining the central hall4  ,galleries
 #dc and #dd have a range from many     
mediocre to a few really good things1   
lacking anything that demands special   
attention4  ,gallery #de is a room rich 
in comparative values4 ,note the        
delicacy of treatment and of color in   
,william ,sartain's three landscapes1 on
 wall ,a1 and in ,birge ,harrison's     
atmospheric paintings on wall ,d4       
,compare these with the heavily painted 
and richly colored canvases by ,walter  
,griffin on wall ,c1 and then with the  

more straightforward1 vigorous work of  
,charles ,morris ,young on wall ,b4     
,harrison1 ,griffin and ,young1 at      
least1 are of the distinctly modern     
school2 but note how individually each  
has utilized his inheritance of         
vibrating color and light4 ,on wall ,a  
are two fine figure studies by ,robert  
,reid1 an innovator and a really great  
painter1 though he did not show it when 
he painted the panels for the ,fine     
,arts rotunda4  ,gallery #df4 ,there is 
much poor material here2 but on walls ,b
 and ,c are some paintings by ,frank    
,vincent ,dumond that are interesting   
for their fresh coloring and their      
solving of light problems4  ,gallery #dg
 contains evidences of progress in      
varied lines1 from ,e4 ,l4              
,blumenschein's big ,indian pictures1   
and ,cohn ,campbell ,cooper's studies of
 ,american cities1 to the experiment in 
painting flesh against a richly varied  
background1 by ,richard ,miller1 a      
gifted ,american who has long lived in  

,paris4  ,gallery #dh contains much     
promising work of various tendencies1   
but no outstanding features4  ,gallery  
#di contains1 on wall ,a1 a splendid    
collection of the work of ,dwight ,w4   
,tryon1 one of the older school of      
landscapists1 who helped to break the   
way for the moderns and has kept up with
 them to a great extent4 ,with the      
exception of one canvas1 the pictures on
 walls ,b and ,d are by ,j4 ,alden      
,weir1 another roadbreaker1 and an      
experimenter with new effects of light  
and atmosphere4 ,in such canvases as    
,june and ,white ,oak one finds some of 
the best that ,american art has built on
 the theories of ,monet4  ,gallery #ej  
contains some good landscapes1 but      
nothing that demands special attention  
aside from ,sergeant ,kendall's refined 
figure studies4  ,gallery #ea is given  
over in general to the independents and 
extremists of ,american art4 ,here are  
canvases by ,glackens1 ,sloan1 and      
,breckenridge1 rather disappointing to  

one who has watched hopefully the       
movement they represent4 ,certainly     
their exhibits are suggestive of a      
rather undisciplined vigor and freedom4 
,on wall ,c the five canvases in the    
lower row are by ,robert ,henri4 ,they  
are the experiments of a master1 rather 
than his best works4 ,the truly         
representative ,henri picture is the    
,lady in ,black ,velvet1 on wall ,d4    
,this has a wonderful synthetic quality1
 a suppression of detail and a spotting 
of interest at the important point4     
,there is1 too1 a spiritual quality that
 is lacking in the other canvases4 ,on  
the other side of the doorway is        
,gertrude ,lambert's ,black and ,green1 
a notably fine canvas4  ,the only other 
general rooms of the contemporary       
,american section are those at the far  
north end of the building1 beyond the   
foreign sections1 numbered from #aag to 
#abj4  ,gallery #aag is a sort of       
catch-all room1 in which are many things
 that never should have been admitted to

 the galleries4 ,the really interesting 
feature is the series of canvases by    
,frieseke1 full of light and freedom4   
,gallery #aah is less mediocre on the   
whole1 but lacks any features of special
 appeal4 ,gallery #aai includes a       
surprising conglomeration of paintings  
and drawings in all mediums1 wherein the
 extremists have their say4 ,there is a 
wealth of interest here1 but one must   
have time to separate the bad from the  
good4 ,gallery #abj is also marked      
generously by the newer tendencies4 ,the
 important feature is the group of      
virile paintings by ,george ,bellows1 on
 wall ,c4 ,these mark the most          
successful ,american attempt to grasp   
sanely the bigness and freedom of the   
post-,impressionist movements4          
,one-man ,rooms4 ,as a part of the plan 
to show the various influences on the   
course of ,american art1 it was decided 
to give up a number of rooms to         
individual displays by leaders of the   
several well-marked tendencies4         

,galleries #ge-gi1 #hg-ij1 and #ic1 at  
the east side of the building on either 
side of the center1 contain these       
one-man shows4  ,gallery #ge-,sargent4  
,here are shown a number of canvases by 
the man generally considered the        
greatest living ,american               
painter-certainly the greatest of the   
portraitists4 ,though containing none of
 the really famous paintings1 there are 
portraits which show the typical        
,sargent brilliancy-the swift sureness  
and the perfect balance of restraint and
 freedom4 ,the ,james portrait is       
especially worthy of study4  ,gallery   
#gf-,mathews4 ,in this room are shown a 
number of canvases by ,arthur ,f4       
,mathews1 most important of the         
,california painters1 as well as a few  
by ,francis ,mac,comas1 another         
,californian4 ,mathews stands primarily 
for the decorative tendency4 ,his       
canvases have a noble sense of repose   
that is too often lacking in            
contemporary work1 and there is         

remarkable color harmony here4  ,gallery
 #gg-,melchers4 ,here are representative
 works by ,gari ,melchers1 a famous     
,american who has long lived abroad4    
,unmistakably these canvases are from a 
masterly brush2 but the coloring is not 
always good1 and the room is somewhat   
disappointing4  ,gallery #gh-;,hassam4  
,by common consent ,childe ,hassam is   
considered the greatest ,american       
follower of ,impressionism4 ,he is an   
innovator who has carved a sure place   
for himself by adding a new vigor to the
 methods of the original                
,impressionists4 ,such decorative       
canvases as #bjcc on wall ,b1 and such  
delicate ones as #bjbi on wall ,d1      
should be compared with the ,monets in  
room #fa4  ,gallery #gi-;,chase4 ,this  
room is designed to show the work of an 
,american who was greatly influenced by 
the ,munich ,school of painters4        
,william ,m4 ,chase1 both in his        
portraits and in his remarkable         
still-life studies1 shows the fine      

,german thoroughness rather than ,french
 brilliancy4 ,the four canvases that    
hold the places of honor on all four    
walls show clearly the influence of     
,whistler4  ,gallery #hg-;,duveneck4    
,here are works by ,frank ,duveneck1 who
 like ,chase studied at ,munich4 ,sound 
in draughtsmanship1 steady1 and         
well-thought out1 they maintain a       
remarkable standard of excellence4 ,it  
is instructive to step from here into   
the adjoining large gallery1 where the  
,french influence is predominant4       
,gallery #hh-,redfield4 ,in the winter  
scenes of ,e4 ,w4 ,redfield one finds   
the sure touch of a master of the new   
and vigorous school of ,american        
landscapists4 ,redfield has modified    
,impressionism1 clinging to a certain   
reality1 and yet achieving the sparkling
 atmospheric effects of the luminists4  
,gallery #hi-,tarbell4 ,in contrast to  
,hassam and ,redfield and ,twachtman is 
,edmund ,c4 ,tarbell1 who has taken but 
little from the ,impressionist group4   

,his most characteristic and most       
appealing work can be seen in the       
canvases on wall ,a1 beautifully lighted
 interiors which show the academic      
tendency1 but in a new and delightful   
way4  ,gallery #ij-,keith4 ,this        
collection of canvases1 with its        
sameness of subject and arrangement1 is 
hardly typical of the late ,william     
,keith at his best4 ,he was the western 
representative of the ,inness-,wyant    
school of the late ,nineteenth ,century1
 though he leaned more to the romantic  
than did the others4  ,gallery          
#ic-,twachtman4 ,here are the works of a
 painter who is closer to ,monet than to
 the more vigorous ,american school of  
modified ,impressionism4 ,it is well to 
study one wall1 ,a perhaps1 and then to 
go to the ,redfield and ,hassam rooms1  
and then to the group of ,monets1 to see
 the various ways in which              
,impressionism has spread4  ,gallery    
#bf-,whistler4 ,the ,whistler room is   
quite appropriately placed with the     

foreign historical rooms1 rather than   
with the other one-man galleries-as if  
,whistler should be grouped with the    
influences rather than the influenced4  
,the room contains none of the artist's 
finest paintings1 but is well           
representative of the several sides of  
his work4 ,wall ,d shows ,whistler the  
portraitist1 with his faces and figures 
that emerge from a soft black           
background1 very much as one sees a     
person in the gathering twilight4 ,on   
walls ,a and ,b it is ,whistler the     
colorist1 and on wall ,b especially1    
,whistler the rediscoverer of ,japanese 
color and figure composition4 ,on wall  
,d is the ,study of ,jo1 an             
uncharacteristic early work1 which shows
 the influence of ,courbet4   ,american 
,section3 ,prints  ,the ,american prints
 occupy rooms #bi to #cd1 along the west
 wall of the building just south of the 
central vestibule4 ,the exhibit is very 
representative1 and contains both       
historical and contemporary sections4   

,gallery #bi-,prints by ,whistler4 ,here
 is a collection of ,whistler's etchings
 and lithographs1 with a few drawings4  
,the distinguishing quality is an       
exquisite delicacy4  ,gallery           
#cj-;,historical ,prints4 ,in this room 
one can trace the development of        
,american engraving and etching from the
 beginnings to the present day4         
,starting on wall ,d one finds steel    
engraving illustrated from the days of  
,paul ,revere to its decadence2 then the
 history of wood-engraving to its       
flowering in ,cole and ,wolf2 early and 
recent ,american etching2 and a few     
modern copper engravings and            
lithographs4  ,gallery #ca-,prints by   
,pennell4 ,this room contains a splendid
 collection of prints from all of       
,joseph ,pennell's important series1 in 
etching1 lithography and mezzotint-a    
remarkable display by one of the world's
 greatest etchers4  ,galleries #cb and  
#cc-;,contemporary ,etchers4 ,these two 
rooms contain a rich collection of      

contemporary ,american work that should 
be studied print by print4 ,even a      
superficial look will indicate that even
 without ,pennell and ,whistler the     
,american etchers are doing work        
universally worth while4  ,gallery      
#cd-;,color ,prints4 ,here is an        
interesting collection of color prints  
in both etching and wood engraving4 ,it 
shows the achievement of the younger    
artists in mediums that were practically
 unknown in this country ten years ago4 
,american ,section3 ,illustration       
,galleries #da and #db are given up to  
drawings and paintings by ,howard ,pyle1
 who has been called the father of      
modern ,american illustration4  ,gallery
 #bf1 adjoining the ,italian section1   
contains a small but fairly interesting 
group of original drawings for          
illustration4 ,in the work of ,wyeth1   
,schoonover1 ,elizabeth ,shippen ,green1
 ,jessie ,wilcox ,smith1 and others1    
there is very strong evidence of ,howard
 ,pyle's influence4 ,on wall ,b of this 

room1 and in the adjoining gallery #bg1 
there is a collection of photographs of 
,american sculpture and mural paintings4
  ,gallery #cf1 adjoining the main west 
vestibule1 has a miscellaneous          
collection of drawings and paintings in 
all mediums1 ranging from the most      
delicate and polished to caricature and 
sketchiness run riot4 ,there is a great 
deal of interest1 but little that is    
important in a big way4   ,american     
,section3 ,miniatures  ,galleries #cg   
and #dj contain an excellent collection 
of miniatures1 ranging from a work by   
,malbone1 the first important ,american 
in this field1 to that of such notable  
contemporaries as ,w4 ,j4 ,baer1 ,laura 
,c4 ,hills1 and ,lucia ,fairchild       
,fuller4  ,in both miniature rooms there
 are a number of paintings and drawings1
 in various mediums1 including1 in room 
#dj1 a few oils by ,jules ,guerin1 the  
color wizard of the ,exposition4        
,american ,section3 ,sculpture  ,of the 
monumental sculpture of the ,american   

,section most of the finest examples are
 out-of-doors4 ,the central hall of the 
gallery building contains a collection  
that is worth studying piece by piece1  
including such notable things as ,daniel
 ,chester ,french's ,alice ,freeman     
,palmer ,memorial1 ,karl ,bitter's      
,signing the ,louisiana ,purchase       
,treaty and ,tappan ,memorial1 and      
,robert ,aitken's ,mausoleum ,door4     
,but by far the most notable thing about
 the sculpture display is the extensive 
collection of charming small bronzes1   
which is scattered through the many     
rooms4 ,the visitor should especially   
make sure of seeing certain individual  
group exhibits1 such as the very freely 
rendered figures by ,paul ,troubetzkoy  
in the ,international ,room 7#ajh71     
,paul ,manship's groups1 with their     
touch of classic appeal1 in gallery #ic1
 and the cases of statuettes by         
,abastenia ,st4 ,leger ,eberle and      
,bessie ,potter ,vonnoh1 in gallery #fe4
 ,very rich in interest1 too1 is the    

collection of medals and plaques1 shown 
in galleries #ch and #ci4   ,foreign    
,sections  ,the foreign sections are in 
two groups1 at the two ends of the      
building4 ,there is no system in their  
arrangement1 and they are treated here  
in the order in which they happen to be 
placed1 beginning at the far south end4 
,the ,japanese ,section occupies        
galleries #a to #aj4 ,to appreciate     
,japanese art it is necessary to become 
accustomed to the conventionalization of
 treatment-to understand what the artist
 was after1 and to judge from that      
standpoint4 ,it is well to begin by     
studying works that are more like       
,western art-such things as ,moving     
,clouds 7#ae7 and ,evening3 ,nawa       
,harbor 7#ab7 in room #a-;and then to   
progress to the works in which the      
conventions are more pronounced4 ,note1 
throughout the paintings in rooms #a1 #b
 and #c1 the delicacy of tone1 the color
 harmony1 and the fine sense of         
composition and pattern4  ,in galleries 

#h and #aj are collections of ,japanese 
sculpture and painting1 done in the     
,western manner4 ,it is interesting to  
see what the ,oriental artist can       
accomplish in an alien medium2 but      
neither for the ,japanese nor for the   
,american can these works have the same 
genuine appeal as those in galleries #a 
to #c4 ,the other rooms contain a varied
 collection of porcelain1 embroidery1   
wood and ivory carving1 and prints4     
,the ,french ,section is one of the most
 interesting1 but is hardly             
representative of the best that country 
has achieved in art4 ,the general       
average is such that it upholds         
,france's traditional standing as the   
home of good painting1 but this is by no
 means a collection of masterpieces4    
,the most noticeable tendency is that   
toward the decorative4 ,the galleries of
 the ,french section have been          
re-numbered1 beginning with #a4         
,gallery #a is a rather poor room on the
 whole1 though it1 contains two canvases

 on the north wall by ,lucien ,simon1   
typical of that artist's masterly       
breadth of treatment4 ,on the west wall1
 beside the doorway1 are two of         
,aman-,jean's portraits4 ,the little    
landscape 7#dbi7 under one of these1 by 
,marcel-,clement1 is notable1 as are    
also ,jean ,domerque's decorative canvas
 on the south wall and ,maury's three   
nude girls on the north4  ,gallery #b is
 most interesting for the group on the  
north wall1 where the place of honor is 
given to ,henri ,martin's work4 ,here is
 an artist who has carried              
,impressionism to its limit of vibrating
 light and color4 ,the large central    
canvas should be seen from the ,japanese
 room4 ,the self-portrait 7#dcc7 is even
 more interesting4 ,on this wall are    
pictures that offer a striking          
comparison of methods of painting4      
,gallery #c is made especially          
interesting by the domination of one    
man1 ,maurice ,denis1 who is the leader 
among the advanced decorators of        

,france4 ,there is much that is worthy  
of study in the simplicity and in the   
color of his panels here4 ,the room     
contains also a number of examples of   
the new and ultra-new schools1 from     
,monet and ,degas to ,redon and ,puy4   
,gallery #d contains few outstanding    
features1 the more conservative element 
predominating4 ,there is charming color 
in ,caro-,delvaille's canvas on the     
,east wall 7#bgi71 and there is a       
,lucien ,simon on the south wall4       
,gallery #e likewise is not very        
important4  ,gallery #f especially      
illustrates the decorative tendency4 ,on
 the north wall are panels by ,auburtin1
 a follower of de ,chavannes1 and by    
,devoux1 which are pure decorations4 ,on
 the south wall is a large canvas by the
 celebrated ,menard2 but his little     
seascape on the west wall 7#dde7 is more
 appealing1 being one of the most       
attractive things in the section4 ,note 
how the decorative tendency             
characterizes not only these outdoor    

pictures1 but the neighboring portraits 
as well4 ,on the east wall is a canvas  
by le ,sidaner1 a leader of the         
plein-air school1 which reminds one that
 good ,french landscapes are few in this
 exhibit4  ,the ,italian ,section is the
 best arranged in the galleries4 ,there 
is a general feeling of orderliness and 
rest that is quite welcome as one comes 
from the overcrowded ,american rooms4   
,the ,italian paintings do not give the 
impression of an exhibition of          
masterpieces-indeed there are very few  
canvases that demand special notice-but 
they are well up to the average set in  
the other sections4  ,gallery #ba is the
 most interesting4 ,on the wall facing  
the main doorway are five pictures by   
,ettore ,tito1 perhaps the greatest and 
certainly the most popular1 of ,italian 
painters4 ,all are strong1 and they are 
painted with a bigness and a sureness of
 touch that are compelling4 ,very       
interesting too are the canvases on the 
adjoining wall by ,camillo ,innocenti1  

who has achieved the vibrating light and
 fresh coloring of the ,impressionist   
,school in an individual way4  ,gallery 
#bb contains a varied collection1       
ranging from the academic to the        
radical4 ,here are two canvases by      
,arturo ,noci1 one of the leaders of the
 ,italian ,secession4 ,gallery #bc is   
given up mainly to sculpture4 ,the most 
compelling thing is d',orsi's realistic 
,tired ,peasant4 ,with the exception of 
some of the small bronzes1 the rest of  
the sculpture of the section is hardly  
notable4  ,gallery #bd contains a very  
interesting canvas in ,plinio           
,nomellini's picture of a woman and     
child in a boat drawn up under a tree4  
,the thing is full of sunlight and      
sparkling color2 and it strikes a good  
medium between the old tight painting   
and that which carries ,impressionism   
too far-both of which extremes can be   
seen in plenty in this room4 ,gallery   
#be is an average room1 without special 
features4  ,the ,cuban ,section occupies

 gallery #bj1 next to the ,italian      
section4 ,there is hardly a picture here
 that does not seem labored in          
comparison with the freedom elsewhere4  
,the ,uruguay ,section1 in the adjoining
 gallery #ai1 is just the opposite full 
of freshness and vigor1 and brilliant in
 color4 ,but the gift of brilliancy is  
rather undisciplined1 and while there is
 unmistakable promise1 one feels that   
the art of ,uruguay has not yet found   
itself4  ,the ,chinese ,section occupies
 galleries #id to #ig1 and is notable   
for the paintings on silk and paper1 the
 cloisonne1 and the lacquer4 ,there is a
 wealth of interesting material in the  
display1 but it really requires a great 
amount of study for full appreciation4  
,the ,chinese ,commission has prepared a
 special catalogue1 which can be had in 
the rooms if one is specially           
interested4  ,the ,philippine ,section1 
in the adjoining gallery #ih1 is almost 
negligible in a building where there is 
so much really worth seeing though some 

of the paintings by ,felix ,hidalgo have
 a dramatic interest4  ,the ,swedish    
,section1 in galleries #ii to #ajg1 is  
one of the most important in the        
building4 ,one who likes a gentle1      
polished sort of art will not be at home
 here2 but for virile1 fresh and        
colorful painting there is no other     
section that achieves the same high     
standard4 ,many of the pictures are so  
strong and big that they never should   
have been put in these box-like little  
rooms1 where a proper perspective is    
impossible4 ,in the paintings there are 
traces of ,french and ,german training1 
and especially of ,impressionism2 but   
the exhibit shows more true national    
feeling and more individual independence
 than any other in the building4  ,the  
two featured groups are the remarkable  
paintings and tapestries of ,gustav     
,adolf ,fjaestad in gallery #ajg-well   
worthy of long study-and the paintings  
and prints of ,carl ,larsson in gallery 
#aja4 ,but there are many other things  

quite as important3 the brilliant and   
fresh canvases of ,carlburg1 the snow   
scenes touched with late sunlight1 by   
,schultzberg1 and the compelling autumn 
decorations by ,osslund1 all in gallery 
#ajb2 the illustrations by ,bauer in    
gallery #ajd2 the big landscapes by     
,hesselborn in gallery #aje2 and the    
deep-toned studies by ,anna ,boberg1 and
 the virile portraits1 in gallery #ajf4 
,if you doubt that these ,swedish       
painters can do the polished1 poetic    
thing1 as well as the big vigorous sort1
 go back to gallery #ajc1 and look at   
,bergstrom's atmospheric ,spring ,day4  
,the ,swedish sculpture is not so       
remarkable as the painting2 but the     
print section in gallery #ii contains a 
number of very interesting etchings and 
wood engravings4  ,the ,argentine       
,section1 in gallery #aab1 shows much   
that is fresh1 strong1 and brilliant in 
color4 ,it is interesting to see how    
much closer these ,south ,american      
painters are to ,spain than to ,france  

and ,germany4 ,here are many echoes1 not
 only of ,velasquez and ,goya1 but of   
the vital modern ,spaniards like        
,zuloaga4 ,the collection is very       
uneven2 but in the work of men like     
,jorge ,bermudez and ,hector ,nava there
 is a mighty promise if not any great   
achievement4 ,the few sculptures are    
unusually strong and interesting4  ,the 
,portuguese ,section1 in galleries #aji 
to #aaa1 has the appearance of belonging
 to an older period in the history of   
art than the present4 ,one feels that   
the artists who show pictures here have 
not that mastery of light which marks   
the ,nineteenth ,century's greatest     
advance in painting4 ,certainly there is
 evidence of a general reliance on the  
older standards4 ,perhaps the best works
 are those of ,columbano1 in the central
 gallery4 ,here too1 and in the next    
room1 are some realistic works of       
,malhoa that compel attention4  ,the    
,international ,room1 gallery #ajh1     
contains all that the ,exposition has of

 ,german work4 ,on wall ,c are such     
splendid things as ,leo ,putz' ,the     
,shore and ,heinrich von ,zugel's ,in   
the ,rhine ,meadows2 and on wall ,a is  
,franz ,stuck's ,summer ,night-by no    
means one of this decorator's best      
works1 though characteristically rich   
and deep-toned4 ,but one feels the lack 
of those others who have lately lifted  
,germany back among the greatest nations
 artistically3 von ,uhde1 ,liebermann1  
von ,gebhardt1 ,klinger1 ,erler1 and von
 ,hofmann4 ,in the same way the young   
and virile ,english group is not        
represented1 though in this room is a   
passable portrait by the great ,john    
,lavery4 ,on wall ,d are two ,spanish   
works of ,lopez-,mezquita1 that are     
worthy of attention but nothing of      
,zuloaga or ,sorolla4  ,the ,holland    
,section1 occupying galleries #aac-aaf1 
contains a display that is well balanced
 but without outstanding features4      
,there are echoes of many departed      
glories1 of ,rembrandt1 of ,hals1 and   

even of the ,french ,barbizon men1 and a
 few typical beautifully lighted ,dutch 
interiors4 ,but there is none of the    
work of the men whom the art magazines  
have taught us to consider the          
representative ,dutch painters of today3
 ,israels1 the ,maris brothers1 and     
,mauve4 ,the print room is likewise good
 rather than splendid1 unless one       
excepts ,m4 ,a4 ,j4 ,bauer's fine       
,rembrandtian etchings4 ,charles van    
,wyck's small bronzes are notable among 
the sculptures4    ,scattered ,art      
,exhibits ,state and ,foreign ,buildings
    ,the ,palace of ,fine ,arts has been
 reserved exclusively for painting1     
sculpture and prints1 with the result   
that the material of the usual arts and 
crafts exhibitions has been badly       
scattered4 ,certain exhibits have been  
taken to the state and foreign          
buildings1 some of which are also of    
interest architecturally2 but most of   
the craftswork is to be found in the    
four exhibition palaces on the ,avenue  

of ,palms4  ,the ,palace of ,varied     
,industries contains1 between #eth and  
#fth ,streets1 three important displays3
 at ,avenue ,a is ,denmark's exhibition 
of porcelain and pottery1 with a small  
section devoted to the book arts2 at    
,avenue ,b is an excellent display of   
,german porcelain2 and at ,avenue ,d is 
the ,netherlands exhibit of porcelain   
and pottery4 ,at #dth ,street and       
,avenue ,c is the exhibition of ,chinese
 arts and crafts4 ,the ,american section
 of so-called ,domestic ,arts and       
,crafts is at #ast ,street and ,avenue  
,c1 and contains a very small but select
 showing of all the usual handicrafts4  
,elsewhere in the building there are    
minor displays of textiles1 ceramics1   
tapestries1 silver work1 and interior   
decoration1 installed by commercial     
firms4 ,one can see looms working1      
jewelry being made1 and ,china being    
painted4  ,the ,palace of ,manufactures 
is notable for the extensive arts and   
crafts exhibit of ,japan1 which covers  

almost one-quarter of the building's    
floor space2 for that of ,italy1 which  
includes a large number of statuettes   
besides the usual departments2 and for  
those of ,france1 and ,great ,britain   
and ,ireland4 ,one will find all of     
these displays by walking along ,avenue 
,c4  ,the ,palace of ,liberal ,arts     
contains a few exhibits of the book arts
 and architecture4 ,the most important  
architectural display is that in the    
,united ,states ,government ,section1   
shown by the ,national ,fine ,arts      
,commission4 ,on ,avenue ,d between #ast
 and #eth ,streets there are displays of
 fine photography4  ,the ,palace of     
,education contains the exhibition of   
the ,american art schools1 at ,avenue ,b
 and #fth ,street4 ,at ,avenue ,e and   
#crd ,street pottery is made4  ,in the  
group of palaces on the ,marina there is
 little to interest in art matters4 ,in 
the ,mines ,palace the ,government's    
exhibit of coins and medals is of some  
interest4 ,in the ,transportation       

,palace the student of applied art can  
find much to think about in the relation
 of art to automobile design4 ,in the   
,agriculture and ,food ,products        
,palaces there is little to attract the 
art-lover except at meal-time4  ,the    
,italian ,buildings contain an extensive
 museum of national historic art and    
archaeology1 which is well worth seeing4
 ,the mural painting in the ,royal      
,salon represents ,the ,glorification of
 ,italy4 ,the buildings reproduce       
historic ,italian styles of             
architecture4 ,the charming central     
court1 the gardens1 and the buildings   
contain many replicas of masterpieces of
 sculpture4  ,the ,french ,building was 
unfinished at the time this was written 
7,june first71 but it is to contain an  
extensive art display4 ,there are to be 
a number of statues by ,rodin1 the      
greatest of modern sculptors1 which     
alone would make a visit imperative for 
every art lover4  ,the ,swedish         
,building is one of the most interesting

 architecturally1 suggesting the fine   
originality of recent ,scandinavian     
architecture4 ,it is worthy of note too1
 that the ,norwegian and ,danish        
buildings strike a note of freshness    
that is in fine contrast with most of   
the foreign pavilions4 ,in all three of 
these buildings there are small exhibits
 of painting and handiwork4  ,the       
,turkish ,building contains an          
attractive exhibit of rugs2 and in the  
,philippine ,building there is a display
 of metal work and basketry4  ,the      
,state ,buildings are in general        
designed for social purposes4 ,that of  
,pennsylvania is an interesting bit of  
,colonial architecture1 and contains two
 virile and colorful decorations by     
,john ,trumbull1 representing ,penn's   
,treaty with the ,indians and ,the      
,industries of ,pennsylvania4 ,the      
,maryland ,building is also a simple1   
dignified bit of ,colonial design4 ,the 
,massachusetts ,building reproduces the 
famous ,bulfinch front of the ,boston   

,state ,house4 ,the ,mission style of   
architecture is pleasingly exemplified  
in the ,california ,building4    ,index 
,abundance-#fa ,adams1 ,herbert-#gj     
,adventurous ,bowman-#fj ,aitken1       
,robert-#ag1 #cj1 #gd ,aquatic ,life-#bb
 ,architecture as a ,whole-#i ,argentine
 ,fine ,arts ,section-#id ,armored      
,horseman-#di ,arts and ,crafts         
,exhibits-#ig ,bacon1 ,henry-#cg        
,bakewell  ,brown-#fg ,bancroft1 ,h4    
,milton-#dj ,bateman1 ,john-#dd1 #fg    
,beach1 ,chester-#af ,beauty and the    
,beast-#dg ,bennett1 ,edward ,h4-#aj    
,berge1 ,edward-#gb1 #gc ,bitter1       
,karl-#aa1 #ia ,borglum1 ,solon-#dg     
,boutier1 ,e4 ,l4-#fg ,brangwyn1        
,frank-#ai ,bufano1 ,b4-#cb ,bulls1     
,the-#cg ,burroughs1 ,edith ,woodman-#ea
 ,calder1 ,a4 ,stirling-#aa1 #cj1 #ca1  
#cb1 #dd1 #dg1 #ec1 #fj ,chase1 ,william
 ,m4-#hh ,chinese ,fine ,arts           
,section-#id ,color ,scheme-#aa ,column 
of ,progress-#fj ,corbett1 ,gail        
,sherman-#gc ,cortez-#di ,court of      

,abundance-#ac ,court of ,flowers-#de   
,court of ,four ,seasons-#ce ,court of  
,palms-#dc ,court of ,universe-#bc      
,crafts ,exhibits-#ig ,cuban ,fine ,arts
 ,section-#ic ,cummings1 ,earl-#fa      
,dallin1 ,cyrus ,e4-#gc ,diagram of ,art
 ,galleries-#gf ,diagram of ,grounds-#h 
,dodge1 ,w4 de,l4-#eb ,dumond1 ,f4      
,v4-#cd ,duveneck1 ,frank-#hh ,elements1
 ,the-#ba1 #cj ,ellerhusen1 ,ulric      
,h4-#gj ,end of the ,trail-#dd          
,farquhar1 ,robert-#fg ,faville1 ,w4    
,b4-#ee ,feast of ,sacrifice-#cg        
,festival ,hall-#fg ,festivity-#ca ,fine
 ,arts ,galleries-#gg ,flanagan1        
,john-#di ,florentine ,court-#cd        
,foreign ,buildings-#ih ,fountain of    
,ceres-#dj ,fountain of ,earth-#ag      
,fountain of ,el ,dorado-#ea ,fountain  
of ,energy-#ec ,fountain of ,rising     
,sun-#be ,fountain of ,setting ,sun-#bg 
,fountain of ,youth-#di ,fountains of   
the ,seasons-#ci ,fraser1 ,james        
,earl-#dd ,french1 ,daniel ,chester-#gd 
,french ,building-#ih ,french ,fine     

,arts ,section-#ib ,fry1 ,sherry        
,e4-#bb1 #fg1 #gc ,genius of            
,creation-#fe ,gerlach1 ,gustave-#eg    
,gruppe1 ,carl-#dd1 #dg ,half-dome of   
,philosophy-#eg ,half-dome of ,physical 
,vigor-#fa ,harley1 ,charles ,r4-#fa    
,harvest-#ci ,hassam1 ,childe-#de1 #hh  
,hastings1 ,thomas-#di ,historical ,fine
 ,arts-#gi ,holland ,fine ,arts         
,section-#ie ,holloway1 ,charles ,w4-#dd
 ,illustration ,section-#ij             
,international ,room-#ie ,italian       
,building-#ih ,italian ,fine ,arts      
,section-#ic ,italian ,towers-#dc       
,jaegers1 ,albert-#cg1 #ci ,jaegers1    
,august-#dj ,japanese ,fine ,arts       
,section-#ia ,keith1 ,william-#hh       
,kelham1 ,george ,w4-#dd1 #dg ,konti1   
,isidore-#fj ,ladd1 ,anna ,coleman-#gb1 
#ge ,laessle1 ,albert-#dg ,lentelli1    
,leo-#ag1 #cj1 #ca1 #ga ,lighting-#ab   
,longnan1 ,evelyn ,b4-#dj1 #gd ,manship1
 ,paul-#ca1 #ia ,mathews1 ,arthur       
,f4-#de1 #hg ,maybeck1 ,bernard ,r4-#gj 
,mc,kenzie1 ,robert ,t4-#gb1 #gd        

,mc,kim1 ,mead  ,white-#be ,mc,laren1   
,john-#ab ,mac,neil1 ,hermon ,a4-#ca1   
#fj ,medals-#ia ,melchers1 ,gari-#hh    
,mermaid ,fountain-#ff ,miniature       
,section-#ij ,mother of ,tomorrow-#cj   
,motion-#ca ,mullgardt1 ,louis ,c4-#ae  
,mullgardt ,tower-#ae ,murals-,in       
,arches-#cb ,murals-,court of           
,abundance-#ai ,murals-,court of ,four  
,seasons-#dj ,murals-,court of          
,palms-#dd ,murals-,fine ,arts          
,rotunda-#ga ,murals-,tower of          
,jewels-#eb ,music-#ca ,nations of the  
,east-#bi ,nations of the ,west-#bi     
,newman1 ,allen-#ei ,niehaus1           
,charles-#di ,outdoor ,gallery of       
,sculpture-#gb ,palace of               
,agriculture-#fa ,palace of             
,education-#eg1 #ig ,palace of ,fine    
,arts-#fi ,palace of ,food ,products-#fi
 ,palace of ,horticulture-#fg ,palace of
 ,liberal ,arts-#ef1 #ig ,palace of     
,machinery-#fb ,palace of               
,manufactures-#ef1 #ig ,palace of       
,mines-#ei ,palace of                   

,transportation-#ei ,palace of ,varied  
,industries-#ee1 #ig ,patigian1         
,haig-#fc1 #gc ,pennell1 ,joseph-#hi    
,philippine ,fine ,arts ,section-#id    
,piccirilli1 ,furio-#dj ,pietro1 ,c4    
,s4-#ge ,pioneer1 ,the-#dg ,pizarro-#di 
,portal of ,varied ,industries-#ef      
,portals of ,north ,facades-#ei         
,portuguese ,fine ,arts ,section-#ie    
,print ,section-#hi ,putnam1 ,arthur-#ff
 ,pyle1 ,howard-#ij ,redfield1 ,e4      
,w4-#hh ,reid1 ,robert-#ga ,richardson1 
,w4 ,symmes-#fj ,rodin-#ih ,roth1 ,f4   
,g4 ,r4-#cj1 #cb ,rumsey1 ,charles      
,c4-#di ,ryan1 ,w4 ,d',arcy-#ab ,st4    
,gaudens-#gb1 #gc ,sargent1 ,john       
,singer-#hg ,scudder1 ,janet-#ge        
,sculpture ,section-#gb1 #ij ,signs of  
the ,zodiac- #ca ,simmons1 ,edward-#cc  
,south ,gardens-#ff ,stackpole1         
,ralph-#ef1 #eg1 #fa1 #ga ,stars-#ca    
,state ,buildings-#ih ,swedish          
,building-#ih ,swedish ,fine ,arts      
,section-#id ,tarbell1 ,edmund ,c4-#hh  
,tonetti1 ,f4 ,m4 ,l4-#di ,torch        

,bearer-#fg ,tower of ,jewels-#dh ,tower
 of ,jewels-,height-#cd ,triumph of the 
,field-#fa ,troubetzkoy1 ,paul-#ia      
,twachtman-#hi ,types of ,power-#fb     
,ulrich1 ,louis-#ee ,u4 ,s4 ,fine ,arts 
,section-#gi ,uruguay ,fine ,arts       
,section-#ic ,venetian ,court-#cd       
,victorious ,spirit-#de ,walter1        
,edgar-#dg ,ward1 ,clarence ,r4-#fb     
,ward1 ,j4 ,q4 ,a4-#gc ,water           
,sprites-#ag ,weinert1 ,albert-#ag1 #dd1
 #ef1 #eg ,whistler-#hi ,whitney1       
,gertrude ,v4-#ea ,winged ,victory-#ee  
,young1 ,mahonri-#ef ,zimm1 ,bruno      
,louis-#gj    ,copies of this guide can 
be obtained from any bookseller or      
newsdealer1 or will be sent postpaid on 
receipt of #ej cent1 by ,the ,sign of   
the ,berkeley ,oak1 #bbda ,college      
,avenue1 ,berkeley1 ,california