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Looking through the ARCH OF THE SETTING SUN into the COURT OF THE UNI-
VERSE. On the right is Du Mond's mural, CALIFORNIA WELCOMING THE
EAST. The soft, warm colors of the palaces, and their wealth of sculpture and
mural painting are the especial distinction of this Exposition.

PANAMA-PACIFIC INTERNATIONAL EXPOSITION

THE JEWEL CITY: &««.

ning and Achievement; Its Architecture,
Sculpture, Symbolism, and Music; Its
Gardens, Palaces, and Exhibits * * * *

BEN MACOMBER

WITH COLORED FRONTISPIECE AND MORE THAN
SEVENTY-FIVE OTHER ILLUSTRATIONS

JOHN H. WILLIAMS, PuBLisriER

SAN FRANCISCO AND TACOMA
1915

PWJ o/
H. S. CROCKER CO.

Printers and Binders

INTRODUCTION : j '-,/.

|0 MORE accurate account of the Panama-P-icLle Inter-
national Exposition has been given than oiie tfiat was
forced from the lips of a charming Eastern woman of
culture. Walking one evening in the Fine Arts col-
onnade, while the illumination from distant search-
lights accented the glory of Maybeck's masterpiece, and lit up the
half-domes and arches across the lagoon, she exclaimed to her
companion: "Why, all the beauty of the world has been sifted,
and the finest of it assembled here!"

This simple phrase, the involuntary outburst of a traveled
visitor, will be echoed by thousands who feel the magic of what
the master artists and architects of America have done here in cele-
bration of the Panama Canal. I put the "artists" first, because this
Exposition has set a new standard. Among all the great inter-
national expositions previously held in the United States, as well
as those abroad, it had been the fashion for managers to order a
manufactures building from one architect, a machinery hall from
another, a fine arts gallery from a third. These worked almost
independently. Their structures, separately, were often beautiful;
together, they seldom indicated any kinship or common purpose.
When the buildings were completed, the artists were called in to
soften their disharmonies with such sculptural and horticultural
decoration as might be possible.

The Exposition in San Francisco is the first, though it will
not be the last, to subject its architecture to a definite artistic
motive. How this came about it is the object of the present book
to tell, — how the Exposition was planned as an appropriate ex-
pression of America's joy in the completion of the Canal, and how
its structures, commemorating the peaceful meeting of the nations
through that great waterway, have fitly been made to represent
the art of the entire world, yet with such unity and originality as
to give new interest to the ancient forms, and with such a wealth
of appropriate symbolism in color, sculpture and mural painting
as to make its great courts, towers and arches an inspiring story
of Nature's beneficence and Man's progress.

Much of Mr. Macomber's text was written originally for The San
Francisco Chronicle, to which acknowledgment is made for its
permission to reprint his papers. The popularity of these articles,
which have been running since February, has testified to their
usefulness. In many cases they have been preserved and passed
from hand to hand. They have also won the indorsement of
liberal use in other publications. It is proper to say, however,

6 THE JEWEL CITY

that similarity of language sometimes indicates a common fol-
lowing of the artists* own explanations of their work, made
public by the Exposition management.

Mr. Maccmber has revised and amplified his chapters hitherto
published, and has added others briefly outlining the history of
the Exposition, and dealing with the fine-arts, industrial, and live-
stock exhibits, the foreign and state buildings, music, sports, avia-
tion, and the amusement section. Apart from the smaller guides,
the book is thus the first to attempt any comprehensive descrip-
tion of the Exposition. Without indiscriminate praise, or sacri-
ficing independent judgment, the author's purpose has been to
interpret and explain the many things about which the visitors
on the ground and readers at home may naturally wish to know,
rather than to point out minor defects.

For the general exhibit palaces, anything more than a brief
outline of their contents would fill several books. But the chapter
entitled "The Palace of Fine Arts and its Exhibit, with the
Awards," supplies such an account of the plan of the galleries and
of the important works therein as will furnish a clear and helpful
guide to this great collection. The awards of the Fine Arts juries,
just announced, have been incorporated in the account, while a
full list of the grand prizes, medals of honor and gold medals also
follows the chapter. With the artists thus named are noted the
rooms where the works of each may be found. The Appendix
offers a practical aid to the study of the "Exposition Art" in the
list there given of the mural paintings and sculptures which form
the notable decorations of palaces and gardens. With these are
cross-references to the pages in the text where they are described.

In selecting the photographs here reproduced, the aim has been
not so much to show exhibits as to illustrate the plan, architecture
and decorative art of the Exposition, and to indicate the advance
which it scores over its precedessors. The pictures, with their full
"underlines," will aid those who have not yet visited the Exposi-
tion to apprehend its spirit and much of its unprecedented beauty.
Cross-references from text to illustrations increase their helpful-
ness. But even these abundant illustration can do little more than
suggest how far the artistic achievement is the finest yet seen in
America. No book can adequately represent this World's Fair. Its
spell is the charm of color and the grandeur of noble proportion,
harmonizing great architectural units; its lesson is the compelling
value, demonstrated on a vast scale, of exquisite taste. It must be
seen to be understood.

JOHN H. WILLIAMS.

San Francisco, July 15, 1915.

CONTENTS

I. Motive and Planning of the Exposition 11

II. Ground Plan and Landscape Gardening 15

III. The South Gardens 21

IV. "The Walled City" : Its Great Palaces and their Archi-

tecture, Color and Material 27

V. The Tower of Jewels 42

VI. The Court of the Universe 50

VII. The Court of the Ages 65

VIII. The Court of the Seasons 75

IX. Courts of Flowers and Palms 78

X. The Fountains 83

XL The Palace of Machinery 96

•XII. The Palace of Fine Arts and its Exhibit, with the

Awards 101

XIII. The Exposition Illuminated 134

XIV. Music at the Exposition 141

XV. Inside the Exhibit Palaces 146

XVI. The Foreign Pavilions 154

XVII. The State Buildings 171

XVIII. The Live-Stock Exhibit 178

XIX. Sports and Games; Automobile Races; Aviation 186

XX. The Joy Zone 193

Appendix: Lists of Sculptures, Mural Paintings, and Artists.
Roster of the Exposition. Index.

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ILLUSTRATIONS

Unless otherwise noted, these are from photographs by the official photographers,
the Cardinell-Vincent Company.

Roman Arch of the Setting Sun,

Color Plate from Photo by Gabriel Moulin Frontispiece

Ground Plan of the Palace of Fine Arts PAG|

Aeroplane View of the Exposition,

Photo copyrighted by Gabriel Moulin 17

Avenue of Palms 18

The South Gardens 23

The Palace of Horticulture 24

Festival Hall George H. Kahn 29

Map of the Panama-Pacific International Exposition 30-31

"Listening Woman" and "Young Girl," Festival Hall 32

South Portal, Palace of Varied Industries J. L. Padilla 37

Palace of Liberal Arts 38

Sixteenth-Century Spanish Portal, North Facade 43

"The Pirate," North Portal 44

"The Priest," Tower of Jewels 44

The Tower of Jewels and Fountain of Energy 47

"Cortez" J. L. Padilla 48

Under the Arch, Tower of Jewels 53

Fountain of El Dorado 54

Column of Progress Pacific Photo and Art Co. 57

"The Adventurous Bowman" 58

Arch of the Setting Sun J. L. Padilla 59

Frieze at Base of the Column of Progress (2) 60

The Court of the Universe and Arch of the Rising Sun 63

"Earth" and "Fire" (2) 64

"The Rising Sun" and "The Setting Sun" (2) 69

Tower of the Ages. J. L. Padilla 70

Fountain of the Earth J. L. Padilla 73

"Air," one of Brangwyn's Murals 74

The Court of Seasons 79

Arch in the Court of Seasons George H. Kahn 80

Court of Flowers, Detail Pacific Photo and Art Co. 85

"The End of the Trail" J. L. Padilla 86

"The Pioneer" . 87

10 THE JEWEL CITY

The Court of Palms 88

Portal between the Courts of Palms and Seasons,

Pacific Photo and Art Co. 93

Fountain of Summer J. L. Padilla 94

The Mermaid Fountain 99

Fountain of "Beauty and the Beast" 100

The Palace of Machinery 105

Palace of Machinery, Interior 106

Vestibule, Palace of Machinery Gabriel Moulin 111

Palace of Fine Arts 112

Open Corridor, Palace of Fine Arts 113

Detail of Rotunda, Palace of Fine Arts 114

Colonnade, Fine Arts, and Half-Dome, Food Products

Palace J. L. Padilla 119

"The Mother of the Dead" 120

"High Tide; the Return of the Fishermen". . .Gabriel Moulin 125

"Among the White Birch Trunks" Gabriel Moulin 126

Tower of Jewels at Night J. L. Padilla 135

"The Outcast" 136

"Muse Finding the Head of Orpheus" 136

Palace of Fine Arts at Night Paul Elder Co. 137

Tympanum, Palace of Varied Industries 138

Tympanum, Palace of Education 138

"The Genius of Creation" 147

Pavilions of Australia and Canada (2),

H. W. Mossby, J. L. Padilla 148

Pavilions of France and the Netherlands (2) 157

Rodin's "The Thinker" Friedrich Woiter 158

A Court in the Italian Pavilion 159

The Pavilion of Sweden 160

Pavilions of Argentina and Japan (2) 169

The New York State Building Pacific Photo and Art Co. 170

California Building 179

Illinois and Missouri (2) 180

Massachusetts and Pennsylvania (2) 181

Inside the California Building 182

Oregon and Washington (2) 191

Aeroplane Flight at Night 192

THE JEWEL CITY

MOTIVE AND PLANNING OF THE EXPOSITION

The Panama Canal a landmark in human progress — Its influence
through changes in trade routes — San Francisco determines,
in spite of the great fire, to celebrate its completion — Millions
pledged in two hours — Congressional approval won — The
Exposition built by California and San Francisco, without
National aid — Only two years given to construction — Fifty
millions expended.

UMAN endeavor has supplied no nobler motive for pub-
lic rejoicing than the union of the Atlantic and Pacific
Oceans. The Panama Canal has stirred and enlarged
the imaginations of men as no other task has done,
however enormous the conception, however huge the
work. The Canal is one of the few achievements which may prop-
erly be called epoch-making. Its building is of such signal and far-
reaching importance that it marks a point in history from which
succeeding years and later progress will be counted. It is so vari-
ously significant that the future alone can determine the ways in
which it will touch and modify the life of mankind.

First of all, of course, its intent is commercial. Experts have
already estimated its influence on the traffic routes. But these
experts, who can, from known present conditions, work out the
changes that will take place, that are already taking place, in the
flow of commerce on the seven seas, cannot estimate the effect
those changes will have on the life of the people who inhabit their
shores. Changes in trade routes have overwhelmed empires and
raised up new nations, have nourished civilizations and brought
others to decay. From the days when merchants first followed the
caravan routes, nothing has so modified the history of nations as
the course of the roads by which commerce moved. Huge as was
the Canal as a physical undertaking alone, it is not less stupendous
in the vision of the effects which will flow from it.

In this vision, the Western shore of the United States feels that
it looms largely. No small part of the benefits of the Canal are
expected to fall to the Pacific States. Long before it was com-

12 THE JEWEL CITY

pleted, the minds of men in the West were filled with it. Its
approaching completion appealed to everyone as an event of such
tremendous significance as to deserve commemoration. Thus when
R. B. Hale, in 1904, first proposed that the opening of the water-
way should be marked by an international exposition in San Fran-
cisco, he merely gave expression to the thought of the whole West.

The Canal is a national undertaking, built by the labor and
money of an entire people. It is of international significance, too,
for its benefits are world-wide. The Exposition thus represents
not only the United States but also the world in its effort to honor
this achievement. San Francisco and California have merely staged
the spectacle, in which the world participates.

An international exposition is a symbol of world progress.
This one is so complete in its significance, so inclusive of all the
best that man has done, that it is something more than a memorial
of another event. It is itself epochal, as is the enterprise it com-
memorates. It bears a direct relation to the Canal. The motive of
the Exposition was the grandeur of a great labor. Completed, it
embodies that motive in the highest expression of art.

It took eleven years to prepare for and build the Exposition.
The first proposal in 1904 was followed by five years of discussion
of ways and means. Two years were occupied in raising the money
and winning the consent of the Nation, and then four years more
in planning, building, and collecting the exhibits. The first plans
were interrupted, but not ended, by the most terrible disaster that
ever befell a great city — the fire of 1906, which wiped out the
entire business portion, with much of the residence section, of San
Francisco, and destroyed hundreds of millions of wealth. Before
that year ended, and while the city was only beginning its huge
task of rebuilding, it again took up its festival idea. A company
was formed, but, until reconstruction was largely out of the way,
it was impossible to do more than keep the idea alive.

In October, 1909, the idea began to crystallize into a definite
purpose. In that month President Taft, at a banquet at the Fair-
mont Hotel, declared that the Canal would be opened to commerce
on January 1, 1915. That announcement gave the final impulse to
the growing determination. The success of the Portola celebration
that summer had given the city confidence in its ability to carry
out a great festival undertaking. In fact, it was at a meeting of the
Portola committee that the first move was made toward the organi-
zation that later became effective.

A mass-meeting in the Merchants' Exchange, on December 7,
1909, ended in a resolve to organize an exposition company. This
found such strong popular support that at a second mass-meeting

NO GOVERNMENT APPROPRIATION 13

on April 28, 1910, $4,089,000 was subscribed in less than two hours.
In two months the subscription had risen to $6,156,840. Governor
Gillett called the California legislature in special session in August
to submit to the people constitutional changes enabling San Fran-
cisco to issue exposition bonds in the amount of $5,000,000, and the
State to raise another $5,000,000 by special tax. In November the
people of State and city voted the two amounts. That placed a
minimum of $16,000,000 to the credit of the Exposition Company
and assured the world that California meant business.

Then followed the struggle for Congressional approval. New
Orleans demanded the right to celebrate the opening of the Panama
Canal. All the resources of both cities were enlisted in a battle
before Congress that drew the attention of the Nation. Three
times delegations went from California to Washington to fight for
the Exposition. California won, on January 31, 1911, when, by a
vote of 188 to 159, the House of Representatives designated San
Francisco as the city in which the Panama-Pacific International
Exposition should be held in 1915 to commemorate the opening of
the Canal.

During this struggle California gave her word that she would
not ask the Nation for help in financing the Exposition. The prom-
ise has been kept. The Government has not even erected a national
building. It has, however, helped in material ways, by granting the
use of portions of the Presidio and Fort Mason reservations, by
sending naval colliers to bring exhibits from European countries,
and by becoming one of the heaviest exhibitors. The national
exhibits include three companies of marines encamped on the
grounds, and the battleship Oregon anchored off the Marina.

After Congress had acted, half a year was spent in choosing a
site. It was at first expected that the Exposition would be built in
Golden Gate Park. A compromise among advocates of different
sites was reached on July 25, 1911, when a majority vote of the
directors named a site including portions of Golden Gate Park, Lin-
coln Park, the Presidio, and Harbor View. Before 100,000 people
President Taft broke ground for the Exposition in the Stadium of
Golden Gate Park. But it was not long before the choice settled
finally on Harbor View alone.

The work began with the organization of the architectural
staff. The following architects accepted places on the commission :
McKim, Mead and White, Henry Bacon, and Thomas Hastings of
New York; Robert Farquhar of Los Angeles; and Louis Christian
Mullgardt, George W. Kelham, Willis Polk, William B. Faville, Clar-
ence R. Ward, and Arthur Brown of San Francisco. To their num-
ber was later added Bernard R. Maybeck of San Francisco, who

14 THE JEWEL CITY

designed the Palace of Fine Arts, while Edward H. Bennett, an
associate of Burnham, of Chicago, made the final ground plan of
the Exposition group. When San Francisco had been before Con-
gress asking national indorsement for the Exposition here, the
plans which were then presented, and on which the fight was won,
were prepared by Ernest Coxhead, architect, of this city. These
proposed a massed grouping of the Exposition structures, around
courts, and on the Bay front. They were afterwards amplified by
Coxhead, and furnished the keynote of the scheme finally carried
out. While the Exposition belongs not to California alone, but to
the whole world, it is pleaant to find that so much of what is best
in it is the work of Californians and San Franciscans.

The architects perfected the plan in 1912. At the same time the
actual work of preparing the site was completed with the filling of
the tide-land portions by hydraulic dredgers and the removal of
the standing buildings. In the same year the department chiefs
were named and began their work. John McLaren, for many years
Superintendent of Golden Gate Park, was put in charge of the land-
scape engineering; W. D'A. Ryan was chosen to plan the illumina-
tion, and Jules Guerin and K. T. F. Bitter were placed at the heads
of the departments of color and sculpture. With these details
behind, the ground-breaking for Machinery Palace in January,
1913, marked the beginning of the final stage. In the two years
that remained it was necessary only to carry out the plans already
perfected. No other exposition has been so forehanded. When
the gates opened on February 20, 1915, to remain open till Decem-
ber 4, the Exposition was practically complete. Some of the exhib-
itors had not finished their installation; some of the foreign
nations were not ready, but the Exposition had kept a promise
made two years before to have its own work done on time. This
achievement was quite unprecedented. It is the more remarkable
in that the record was made by a city which had been almost anni-
hilated by fire a few years before.

The entire cost of the Exposition, exclusive of the value of
exhibits, is estimated by the Controller at $50,000,000. This total
is made up of $20,000,000 spent by San Francisco and California,
$10,000,000 laid out in state and foreign buildings and displays,
$10,000,000 by private exhibitors, and $10,000,000 by the one hun-
dred concessionaires on the Joy Zone. San Francisco contributed
$12,500,000, the State of California $5,000,000, and its fifty-eight
counties, $2,500,000. The amounts expended by foreign nations
range from $1,700,000 by Argentina to sums as low as $100,000.
The State of New York spent nearly $1,000,000.

II.

GROUND PLAN AND LANDSCAPE GARDENING

The Exposition a product of co-operation of the arts — The land-
scape made part of the scheme — Block grouping of palaces
and courts — Plan of the buildings — McLaren's wonders in gar-
dening— Succession of flowers throughout the Exposition —
Changes overnight — Unique wall of living green.

|HE artistic quality which distinguishes this Exposition
above all others in America or Europe rests on two
outstanding facts: the substantial unity of its archi-
tectural scheme, and its harmony of color, keyed to
Nature's coloring of the landscape in which it is
placed. The site furnished the clue to the plan; co-operation made
possible the great success with which it has been worked out.

"Centuries ago," said George W. Kelham, chief of Exposition
architecture, "before the modern age of advanced specialization
was dreamed of, had an architect been asked to create an exposi-
tion, he would have been not only an architect, but painter, sculp-
tor and landscape engineer as well. He would have thought,
planned and executed from this fourfold angle, and I doubt if it
would have even occurred to him to think of one of the arts as de-
tached from another." These words express the method of the
Exposition builders. The scheme adopted was a unit, in which all
of the arts were needed, and in which they all combined to a single
end. Each building, each court, every garden and large mass of
foliage, was designed as part of a balanced composition. To make
the landscape an integral part of the Exposition picture, by fitting
the Exposition to the landscape, was the common aim of architect,
colorist, sculptor and landscape engineer. The Mediterranean set-
ting offered by a sloping bench on the shore of the Golden Gate sug-
gested, as most capable of high expression of beauty, the scheme
of a city of the Far East, its great buildings walled in and shel-
tering its courts. The coloring of earth, sky and sea furnished the
palette from which tints were chosen alike for palaces and gardens.
The beauty of this plan is matched by its practical advantages.
The compact grouping of the Exposition palaces not only meant a
saving of ground and labor, but it makes it easier to handle the
crowds, and lessens the walking required of the visitor. There is
no monotony. In developing the general idea, each architect and
artist was left free to express his own personality and imagination.
The result is that varied forms and colors in the different courts
and buildings blend truly into the whole picture of an Oriental

16 THE JEWEL CITY

city, set in the midst of a vast amphitheater of hills and bay,
arched by the fathomless blue of the California sky.

The ground plan is as simple as it is compact. Entering through
the main gate at Scott Street, the visitor has the Exposition before
him, practically an equal section on either hand. (See map, pp.
30, 31.) On right and left in the South Garden are Festival Hall
and the Palace of Horticulture. (Pp. 23, 24, 29.) In front is the
Tower of Jewels, before it the Fountain of Energy. (P. 47.) The
tower centers the south front of a solid block of eight palaces, so
closely joined in structure, and so harmonized in architecture, as
to make really a single palace. On the right and left of the tower
are the Palaces of Manufactures and Liberal Arts; beyond them, on
east and west, are Varied Industries and Education. Behind these
four, and fronting on the bay from east to west, are Mines, Trans-
portation, Agriculture and Food Products. In the center of the
group, cut out of the corners of the Manufactures, Liberal Arts,
Agriculture and Transportation Palaces, and entered from the
south through the Tower of Jewels, is the great Court of the Uni-
verse, opened on east and west by the triumphal Arches of the
Nations. (Pp. 59 and 63.) The Court opens northward between
the Palaces of Transportation and Agriculture in a splendid colon-
naded avenue to the Column of Progress, near the bay. (P. 57.)

Through the arch on the east the Court of the Universe opens
into an avenue which leads to the Court of the Ages, cut out of the
intersection of the four Palaces of Manufactures, Varied Indus-
tries, Mines and Transportation. (P. 70.) A similar avenue on the
west passes to the Court of Seasons, carved from the common junc-
tion of Liberal Arts, Education, Food Products and Agriculture.
(Pp. 79 and 80.) Avenues pass east and west and to the north
from each of these two courts, and on the south each connects
through an arch with a court set back into the south front of the
palace group, the Courts of Flowers and Palms. (Pp. 85, 87, 88, 93,
100.) On east and west of this central group of eight palaces are
the Palace of Machinery and the Palace of Fine Arts (Pp. 105, 112),
serving architecturally to balance the scheme. East of the exhibit
palaces is the Joy Zone, a mile-long street solidly built with bizarre
places of amusement. Balancing the Zone on the west is the State
and Foreign section, with the live-stock exhibits, the polo field,
race track and stadium beyond, at the western extremity of the
grounds. The state buildings stand along two avenues on the north
side of the section; the foreign pavilions occupy its southern half.

The Tower of Jewels and the central palace group face south on
the Avenue of Palms (p. 18), which, at its west end, turns as it
passes the Fine Arts lagoon, and becomes the Avenue of Nations.

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MCLAREN'S UNIQUE GARDENING 19

This latter highway, bordered by the foreign buildings, joins at its
western extremity the Esplanade, a broad avenue passing the north
face of the palace group and continuing westward between the
state and the foreign sections.

On the east, the Avenue of Progress divides the central group
from the Palace of Machinery. Administration Avenue on the west
separates the central group from the Palace of Fine Arts. Along
the bay shore is the Marina, and between it and the Esplanade are
the Yacht Harbor and the lawns of the North Gardens.

Surrounding all these buildings, filling the courts and bordering
the avenues, are John McLaren's lovely gardens. For multitudes
of visitors this landscape gardening is the most wonderful thing
about the Exposition. The trees and flowers have been placed with
perfect art; they look as though they had been there always. It is
hard for a stranger to believe that three years ago the Exposition
site was a marsh, and that these trees were transplanted last year.

The Avenue of Palms is bordered on each side for half a mile
with a double row of California fan palms and Canary date palms,
trees from eighteen to twenty-five feet high and festooned higher
than a man's head with ivy and blooming nasturtium. (See p. 18.)
These massive plants, soil, roots, vines and all, were brought bod-
ily from Golden Gate Park. Against the south walls of the build-
ings facing this avenue are banked hundreds of eucalyptus glob-
ulus, forty to fifty feet high, with smaller varieties of eucalyptus,
and yellow flowering acacias.

The Avenue of Progress is bordered with groups of Draceona
indivisa, averaging twenty feet in height. The walls of the palaces
on either hand are clothed with tall Monterey and Lawson
cypresses and arbor vitse. Between these and the Draceonas of
the avenue are planted specimens of Abies pinsapo, the Spanish fir.
Banks of flowers and vines cover the ground around the bases of
the trees. Administration Avenue has on one side the thickets of
the Fine Arts lagoon, on the other, masses of eucalyptus globulus
against the palace walls, finished off with other hardy trees and
shrubs. Against the north front of the palaces are set Monterey
cypresses and eucalyptus, banked with acacias.

The entire city side of the South Gardens is bordered by a won-
drous wall of living green, — not a hedge, but truly a wall, — the
most surprising of all McLaren's inventions. For this wall, though
living, is not rooted in the ground, but is really a skeleton of tim-
bers, three times the height of a man, paneled solidly on both sides
with shallow boxes of earth thickly set with a tiny green plant,
which, as though crushed down by the weight of its name, Mesem-
bryanthemum spectabilis, hugs the soil closely. Each box, really

20 THE JEWEL CITY

nothing more than a tray, is barely deep enough to contain a cou-
ple of inches of earth, and is screened over with wire mesh to pre-
vent the slice of soil from falling out when it is set on edge. Some
thousands of these boxes are required to cover the entire wall,
which thus appears a solid mass of greenery. The little plant
looks like the common ice-plant of old-fashioned gardens, and is
actually kin to it. It asks little of this world, is accustomed to
grow in difficult places, and is kept green by sprinkling. If a sec-
tion of it gives up the struggle, the tray may be replaced with a
fresh one. From time to time a blush of tiny pink flowers runs
over the wall. There seems to be no season for the blossoms, but
whenever the sun shines, this delicate shimmer of bloom appears.

The season opened in the great sunken garden of the Court of
the Universe with solid masses of rhododendron. The Court of the
Ages was a pink flare of hyacinths, which, with an exquisite sense
of the desert feeling of the court, were stripped of their leaves and
left to stand on bare stalks. The South Gardens and the Court of
Flowers were a golden glow of daffodils. Daffodils, too, were
everywhere else, with rhododendron just breaking into bloom. The
daffodil show lasted several weeks until, over night, it was replaced
by acres of yellow tulips blooming above thick mats of pansies.
This magic change was merely the result of McLaren's forethought.
The daffodils had all been set at the right time to bloom when the
Exposition opened. The pansies were set with them, but were
unnoticed beneath the taller daffodils. Unnoticed also were the
tulips, steadily shooting upward to be ready in bloom the moment
the daffodils began to fail. One night and morning scores of work-
men clipped off all the fading daffodils, and left a yellow sea of
tulips with cups just opening. When the tulips faded early, because
of continued rains, the solid masses of pansies remained to keep
up the golden show. With the end of the yellow period came three
months of pink flowers, to be followed in the closing third of the
Exposition's life by a show of variegated blooms.

This marvelous sequence of flowers without a gap is not the
result of chance, or even of California's floral prodigality, but of
McLaren's hard-headed calculation. He actually rehearsed the
whole floral scheme of the Exposition for three seasons before-
hand. To a day, he knew the time that would elapse between the
planting and the blooming of any flower he planned to use. Thus
he scheduled his gardening for the whole season so that the gar-
dens should always be in full bloom. In McLaren's program there
are ten months of constant bloom, without a break, without a wait.
No such gardening was ever seen before. Needless to say, it
could hardly have been attempted elsewhere than in California.

III.

THE SOUTH GARDENS

A charming foreground to the great palaces — Palace of Horticulture
and some of its rare plants — Food for pirates — Ancient and
blue-blooded forest dwarfs — The Horticultural Gardens —
House of Hoo Hoo — Festival Hall, with its fine sculptures by
Sherry Fry — A remarkable pipe organ.

NTERING the Exposition by the main or Scott Street
gate, the visitor has before him the beautiful SOUTH
GARDENS. (See p. 23.) These form an animated and
effective foreground for the Exposition palaces.
Except for their fountains, the gardens and the struc-
tures in them are less notable for sculpture than the central courts
of the Exposition. Most of the plastic work here is purely deco-
rative. The gardens are formal, French in style, laid out with long
rectangular pools, each with a formal fountain, and each sur-
rounded by a conventional balustrade with flower receptacles and
lamp standards. In harmony with their surroundings, the build-
ings, too, are French, of florid, festival style.

The PALACE OF HORTICULTURE, Bakewell and Brown, archi-
tects, is the largest and most splendid of the garden structures.
(P. 24.) Byzantine in its architecture, suggesting the Mosque of
Ahmed I, at Constantinople, its Gallic decorations have made it
essentially French in spirit. The ornamentation of this palace is
the most florid of any building in the Exposition proper. Yet this
opulence is not inappropriate. In size and form, no less than in
theme, the structure is well adapted to carry such rich decoration.
This is the palace of the bounty of nature; its adornment symbol-
izes the rich yield of California fields.

In harmony also with the theme, the human figure is absent
from the sculpture, save in the caryatids of the porches and the
groups supporting the tall finials. Fruits and flowers, interwoven
in heavy garlands and overflowing from baskets and urns, carry
out the idea of profuse abundance. The great dome, larger than
the dome of either St. Peter's at Rome or the Pantheon at Paris,
is itself an overturned fruit basket, with a second latticed basket
on its top. The conception of profusion becomes almost barbaric
in the three pavilioned entrances, flanked on either side by the
tall finials suggesting minarets. Here the Oriental influence of
the architectural form, the mosque, becomes most pronounced,
changing to French again in the caryatid porches.

Altogether, the Palace of Horticulture is a beautiful building,

22 THE JEWEL CITY

but rather hard to see properly from the ground. From an eleva-
tion, where it appears more as a whole, it is far more effective.
Curiously, it photographs better than any other building here, save
the Fine Arts Palace, but in actual view it hardly lives up to the
pictures. Perhaps this is because the comparatively small portions
of the structure seen between the trees near-by are dwarfed by the
huge dome, while in photographs the camera emphasizes the lower
and nearer sections and reduces the proportions of the dome.

The exhibit housed under the great dome should not be passed
by. A vivid bit of the tropics is the Cuban display. Here, in an
atmosphere artificially heated and moistened to reproduce the
steaming jungle, is massed a splendid exhibit of those island trees
and flowers that most of us know only through pictures and stories
of southern seas. Around the central source of light, which is
hidden under tropic vines, stands a circle of royal palms; and
planted thickly over the remaining space are jungle trees, vivid
enough to our imagination, but many of which have never before
been seen in this country.

Boys who feel pirate blood in their veins will revel in this
reproduction of the scenes of imagined adventure. Any reasonable
pirate could be quite happy here. For here is the breadfruit tree,
read of in many a tale of castaways; also the cocoanut palm, with
the fruits hanging among the fronds, waiting for the legendary
monkey to scamper up the trunk and hurl the great balls at the
heads of the beholders. Here, too, are the mango, and many sorts
of bananas, and the cabbage palm, another favorite resource of
starving adventurers. With these there are other jungle deni-
zens,— the bamboo palm, the paperleaf palm, splendid specimens
of the world-old cycad family, the guanabana, and a Tom Thumb
palm, which, full grown, is no more than a handbreadth high.

Ancient among trees are the two specimens of microcycas from
the swamps of Cuba. These Methuselahs of the forest are at least
1,000 years old, according to the botanists. They are among the
slowest growing of living things, and neither of them is much taller
than a man. They were seedlings when Alfred the Great ruled
England, and perhaps four feet high when Columbus first broke
through the western seas. In the four centuries of Cuban history
they have not grown so much again.

These venerable trees belong to the bluest-blooded aristocracy
of the vegetable world. Ages ago they inhabited our northern
states. Their family has come down practically unchanged from
the steaming days of the Carboniferous period, when ferns grew
one hundred feet high, and thronged with other rank tropical

THE HOUSE OF HOO HOO 25

growths in matted masses to form the coal measures. The fossil
remains of cycads in the rocks of that period prove that they once
flourished in the tropic swamps where now are the hills of Wyo-
ming and Dakota.

Scattered among the trees is a host of flowering vines, of huge
crotons with variegated leaves, giant gardenias and tropical lilies.
When these bloom, the air of this transplanted jungle is heavy
with the perfume of their own island habitat.

The HORTICULTURAL GARDENS south of the Palace belong
to it, and contain a large part of the horticultural exhibits. As they
were planted for competitive exhibition purposes, they will not
show the constant beauty that appears in the South Gardens. Here
we must wait for the flowers in their season, and not expect to
have them changed overnight for us by the gardeners' magic.

Back of this horticultural garden is the HOUSE OF HOO HOO,
in Forestry Court, flanked by the Pine and Redwood Bungalows.
It needs but a glance at its beguiling loveliness to know that here
is another lesson in art and architecture by Bernard Maybeck.
Here again is poetry in architecture, of a different order from the
noble theme of Maybeck's Fine Arts Palace, but none the less
poetry. This is a sylvan idyll, telling of lofty trees, cool shades,
and secret bowers of fern and vine and wild flower, in the moist
and tangled redwood forests. There is little used but rough-barked
tree trunks, but what delicate harmony of arrangement 1

This lumbermen's lodge is one building outside the Exposition
palaces that should not be missed, even though almost hidden away
against the south wall. It is worth pondering over. No one may
want to build a house like it, but it proclaims how beauty can be
attained with simple materials and just proportions.

FESTIVAL HALL, Robert Farquhar, architect, balances the
Palace of Horticulture in the architectural plan of the South Gar-
dens. (P. 29.) It, too, is French in style, its architecture suggested
by the Theatre des Beaux Arts in Paris, a design which furnished
the dome necessary to harmonize with that of the palace to the
west. As architecture, however, it fails to hold up its end with the
splendid Horticultural Palace. Its dome is too large, and has too
little structure around it, to be placed so near the ground without
an effect of squattiness. Its festive adornment is extremely mod-
erate. On the cornice above the main entrance is the rhyton, the
ancient Greek drinking horn, symbol of festivity.

The sculpture, all done by Sherry E. Fry, carries out the same
idea. The graceful figures poised on the corner domes are Torch
Bearers. On the pylons at either end of the semicircular arcade of
the main entrance are two reclining figures. On the right is

26 THE JEWEL CITY

Bacchus, with his grapes and wineskin, — a magnificently "pickled"
Bacchus! On the left a woman is listening to the strains of festal
music. (P. 32.) Each of the pedestals before the false windows at
the ends of the arcade supports a figure of Flora with garlands of
flowers. On the ground below the two Floras are two of the most
delightful pieces of all the Exposition sculpture. One is a little
Pan, pipes in hand, sitting on a skin spread over an Ionic capital.
This is a real boy, crouching to watch the lizard that has crawled
out from beneath the stone. The other is a young girl dreaming
the dreams of childhood. There is something essentially girlish
about this. Unfortunately, it is now almost hidden by shrubbery.

Within Festival Hall is one of the half-dozen greatest organs in
the world. It has more than 7,000 pipes. The heaviest of them
weigh as much as 1,200 pounds apiece. Though mere size is not
the essential quality of a fine instrument, it is hard to ignore the
real immensity of this. The echo organ alone is larger than most
pipe organs. This complementary instrument, which is played
from the console of the main organ, is placed under the roof of
the hall, above the center of the ceiling. Its tones, floating down
through the apertures in the dome, echo the themes of the great
organ.

Few organs have so mighty a note as the sixty-four-foot open
pitch attainable on the Exposition's instrument. Speaking by
itself, this note has no sound. It is only a tremendous quaking of
the whole building, as though the earth were shuddering. By itself
it has no place in organ music. It is not intended to be struck
alone. It is used only as a foundation upon which to build other
tones. In combination it adds majesty to the music, rumbling in a
gigantic undertone to the lighter notes.

Even the open stops in this organ are of more than ordinary
dimensions. The usual limit in a pipe organ is the sixteen-foot
open stop. But in this organ there are several pipes, both of wood
and of metal, thirty-two feet or more in length.

Two small buildings, balanced on either side of the Scott-street
entrance, are the Press Building and the Exposition home of the
National Young Women's Christian Association. They are alike,
French in style, and fronted with caryatid porches.

The real glory of the South Gardens lies in their flowers, and
in the charming setting the landscape engineers have here given
to the south facade of the palace group. There is the air of
Versailles in the planned gayety of the scene. In this the pools
and fountains, the formal gardens, the massed trees and shrubbery,
and the two palaces themselves, play their part.

IV.

"THE WALLED CITY": ITS GREAT PALACES AND THEIR
ARCHITECTURE, COLOR AND MATERIAL

The central group of Exposition structures really a single vast pal-
ace, behind a rampart — Historical fitness of such architecture
here — The south facade — Spanish portals of Varied Industries
and Education Palaces — Italian Renaissance portals of Manu-
factures and Liberal Arts, and of the Courts of Flowers and
Palms — The Roman west wall — Ornate doorway of north
facade — Interior courts and aisles — A balanced plan — This the
first exposition to adopt the colors of nature for its struc-
tures— Jules Guerin's color scheme, designed for an artificial
travertine marble — -Simplicity of his palette, from which he
painted the entire Exposition — Even the flowers and sanded
walks conform.

LTHOUGH there are eight buildings named in the cen-
tral palace group, these are so closely connected in
design and structure that in reality they make but one
palace. Here is seen the unity with variety which
marks this Exposition above all others. Commemorat-
ing a great international event, its architecture is purposely
eclectic, cosmopolitan. Under a dominating Moorish-Spanish gen-
eral form, the single architect of the group, W. B. Faville, of San
Francisco, drawing upon the famous styles of many lands and
schools, has combined into an ordered and vastly impressive whole
not only the structural art of Orient and of the great Spanish
builders, but also the principles of the Italian Renaissance and the
architecture of Greece and Rome from which it sprang. Thus
the group is wholly Southern in its origin. There is no suggestion
here of the colder Gothic architecture of the North.

Differing from each other in many details, the eight palaces are
alike in their outer walls, their domes and gables, and similar in
their entrances. These portals give a distinctive character to each
palace. While the palaces differ widely in details of decoration,
they all have a common source; they are all Mediterranean, — not all
Byzantine, or Roman, or Italian, or Spanish, or Moorish, but some-
thing of each. The manner in which these forms are carried over
from one palace to another, and the almost constant recurrence of
some of them, like the Moorish domes at the corners, blends them
without jar or break. The great wall, almost blank, except for the
entrances, incloses the palaces like a walled city of the Mediter-
ranean or the nearer Orient. Such a walled city it is, with its

28 THE JEWEL CITY

courts, its avenues, its fountains and pools, all placed in a setting
of landscape, sea and sky, that might belong to Spain, or Southern
Italy, or the lands of the Moslem.

The broad, unbroken spaces that mark each face of this vast
block greatly heighten the illusion. They lend an Old-World
aspect, the historical fitness of which must not be overlooked. For
these plain surfaces are indeed significant in the celebration of an
event which was predicted by the Spanish conquistadors a century
before the English Cavaliers and Puritans laid the foundations of
our American Commonwealth. Relieved only by the foliage that is
finely massed against them, the great blank spaces of the "Walled
City" recall the severer side of Mediterranean architecture, just as
their gorgeously ornate portals, towers and domes speak of its
warmth and color. They are an architectural feature that has trav-
eled far. The unbroken rampart, born of the need of defense in
immemorial cities on the east and south shores of the Mediterra-
nean, was carried thence by the Moors to Spain, to go in turn with
the conquerors of the New World, and became a characteristic of
the civic and ecclesiastical architecture of Latin America. Hence
it is not without meaning and reason that this historic architectu-
ral form, the blank exterior of the walled city, has found its finest
use in the far-western city of St. Francis. Quite apart from their
frequent occurrence in the mission architecture of old Alta Cali-
fornia, these simple wall-spaces well befit the monumental struc-
ture that honors an achievement so important to all Spanish
America as the Panama Canal.

The southern front of the group, facing the Avenue of Palms,
has the aspect of a single palace, opened in the center by the noble
Roman arch of the Tower of Jewels, and indented by the Court of
Flowers and the Court of Palms. (See pp. 18, 77.) Seen across
the South Gardens, the whole facade rising from the trees along the
wall, is wondrously beautiful. The wall is seventy feet high,
topped with a red-tiled roof. The pale green domes over the centers
of the palaces are Byzantine, a style much used in the mosques of
Islam. The gables are each crowned with a figure of Victory,
sometimes called an "acroterium," from the architectural name of
the tablet on which it stands. The towers on either side of the
entrances to the courts are Italian. The little towers buttressing
the domes on the corners of the palaces at the extreme right and
left of the front, and from there repeated around the east, west
and north walls, are Moorish, with characteristic latticed windows.

The PALACE OF VARIED INDUSTRIES, on the extreme right,
is made entirely Spanish in its southern front by its beautiful cen-
tral portal, modeled after the sixteenth-century entrance to the

FESTIVAL HALL, the great auditorium of the Exposition. Beyond the pool in the
foreground is Arthur Putnam's charming MERMAID FOUNTAIN. On the pylons
at the right and left of the entrance are Sherry Fry's reclining figures, BACCHUS
and the LISTENING WOMAN.

( P . 29 )

THE MARINA.

o vouo FltL03l

UNITED STAT65
G.QVER.MME.IST RESERVATtOtS-

1. Fountain of Energy.

2. Fountain of the Setting Sun.

3. Fountain of the Rising Sun.

4. Column of Progress.

5. Great Northern Railway.

6. Canadian Pacific Railway.

7. Grand Trunk Pacific Railway.

8. Fire Engines.

9. Service Building.
10. Press Building.

GROUNDS ANI
THE PANAMA-PACIFK

11. Young Women's Christian Association.

12. House of Hoo Hoo.

13. Guatemala.

14. Panama.

15. Honduras.

16. Greece.

17. Norway.

18. Australia.

19. New Zealand

20. Cuba.

( P. 30 )

BUILDINGS OF
INTERNATIONAL EXPOSITION

21. Portugal.

22. Denmark.

24. Turkey.

25. Siam.

26. Y. M. C. A. (Enlisted Men's Clubhouse).

27. Bolivia.

28. Indiana.

29. Massachusetts.

30. Mississippi.

31. Arkansas and Oklahoma.

32. Kansas.

33. West Virginia.

34. North Dakota.

37. Maryland.

38. Montana.
40. Idaho,
hi. Missouri.

42. Nevada.

43. Wisconsin.

44. Utah.

45. Argentine Republic.

46. Hawaiian Islands.

( P. 31 )

YOUNG GIRL and LISTENING WOMAN, two of the fine sculptures done by
Sherry Fry for Festival Hall.

( P. 32 )

A FAMOUS DOORWAY 33

Hospice of Santa Cruz at Toledo. (Pp. 18, 37.) Except for the
sculpture, in which the Spanish saints have been replaced by fig-
ures of industry, the portal is a copy of the original. All the fig-
ures are the work of Ralph Stackpole, whose treatment of the sub-
jects, no less than their exalted position in the niches of the saints,
has dignified the workman.

On each side of the entrance is the "Man with a Pick." The
group in the tympanum represents Varied Industries. (P. 138.)
The central figure is Agriculture, the basic food-supplying indus-
try. On one side is the Builder, on the other the Common Work-
man. Beyond them are Commerce holding the figurehead of a ship,
and a woman with a spindle, a lamb before her, typifying the tex-
tile industries.

The figure in the keystone represents the Power of Industry.
Under the ufcper canopy is an old man handing his burden to a
younger one, the Old World passing its burdens on to the New
World. The infant figures come from the Spanish original.

The two lesser portals on the south side of this palace are like-
wise Spanish. In the grill work of their openings, designed in
imitation of metal, as well as in that of the central portal, there is
a strong suggestion of the Arabian architecture brought into Spain
by the Moors. Indeed, there is something Moorish about the whole
work, except that the Mohammedans do not represent living things
in art. A passage in the Koran tells devout follows of the prophet
that if they should carve or picture a plant or animal they would
be called upon at the Judgment to make it real. Sometimes, how-
ever, they employed Christian workmen to execute such repre-
sentations, being quite resigned to let the unbeliever risk dam-
nation.

The bears terminating the buttresses on the walls represent
California, and hold the seal of the State. Such buttresses against
a plain wall, with a tiled roof, are common in the Franciscan mis-
sions of California.

The PALACES OF MANUFACTURES and LIBERAL ARTS, on
either side of the Tower of Jewels, are alike on the south, and
Italian. The Moorish corner domes are omitted here, as the palaces
terminate on one side in one of the Italian towers and on the qther
in the wings of the Tower of Jewels. The central portals are Italian,
with tiled roofs and latticed grills, with handsome imitations
of bronze work under the arches. The friezes over the arches as
well as the figures in the niches are by Mahonri Young, of New
York. The frieze represents industries of various kinds, the work
of women as well as of men. In the niche on the left is a woman
with a spindle, on the right a workman with a sledgehammer. Like

34 THE JEWEL CITY

Stackpole's figures on the portal of Varied Industries, Young's
sculptures are simple and strong. The lion used as the keystone
figure of the arch and the lions and elephants alternating as foun-
tain heads in the niches in the wall give an Oriental touch to these
palaces.

Of their portals none are more beautiful than those leading
from the COURTS OF FLOWERS and PALMS. All four are finely
expressive of the noblest architecture of the Italian Renaissance.
They glow with the sunshine and color of Italy. Those entering
the Palaces of Liberal Arts and Education from the Court of Palms
are identical in design, and seem almost perfect in their harmo-
nious lines and warm color. (P. 88.) The other pair, opening from
the Palaces of Manufactures and Varied Industries into the Court
of Flowers, are cheery portals, made more domestic in feeling by
the loggia between the colonnade and the tiled roof. (Pp. 85, 100.)

The three portals of the PALACE OF EDUCATION are of the
Spanish Renaissance, and the Moorish towers reappear at the cor-
ners. The twisted columns of the entrances are Byzantine. The
tympanum above the central portal contains Gustav Gerlach's
group "Education." (P. 138.) In the center is the teacher with
her pupils, seated under the Tree of Knowledge; on the left, the
mother instructs her children; on the right, the young man, his
school days past, is working out for himself a problem of science.
Thus the group pictures the various stages of education, from its
beginning at home to that training in the school of life which ends
only at death. The cartouche just above the entrance bears the
Book of Knowledge, shedding light in all directions, the curtains
of darkness drawn back by the figures at the side. The hour glass
below the book counsels the diligent use of time; the crown above
symbolizes the reward of knowledge. The banded globe over the
portal signifies that education encompasses the world.

Above each of the flanking portals is an inset panel represent-
ing the Teacher, a woman at the left, a man at the right. The man
looks toward the woman, thus signifying that the world is no
longer dependent on man alone.

Turning the corner, the entire west wall of the palaces becomes
Roman to accord with the Roman Palace of Fine Arts across the
lagoon. The characteristic features are the Roman half-domes
above the entrances, and the sculptures repeated in the niches of
the walls. (P. 119.) On this side, the Palaces of Education and
Food Products are alike, except for a slight difference in the ves-
tibule statuary and the fountains.

On the great Sienna columns beside the half-domes stands
Ralph Stackpole's "Thought." The semi-circle of female figures

IS THE PIRATE BOW-LEGGED? 35

in the vestibule of the dome of the Palace of Education, bearing in
their hands books with the motto "Ex Libris," though the prepo-
sition is omitted, represents the store of knowledge in books. The
similar array of men bearing wreaths of cereals in the half-dome
of the Palace of Food Products signifies the source of vigor in the
fruits of the soil. The simple Italian fountains in the vestibules,
the work of W. B. Faville, are decorative and beautiful.

The alternated groups in the niches along the wall are "The Tri-
umph of the Fields" and "Abundance." This is well called archaeo-
logical sculpture, for the emblems are from the dim past, and can
be understood only with the help of an archaeological encyclopae-
dia. In the first are the bull standard and the Celtic cross, which
were carried through the fields in ancient harvest festivals. In the
second, the objects heaped around the lady suggest abundance.

The north facade of the palace group is an unbroken Spanish
wall, blank, except for the four beautiful and identical sixteenth-
century portals. (See p. 43.) This magnificent decoration, sug-
gestive of the finest work in rare metals, is, in fact, called "plater-
esque," from its resemblance to the work of silversmiths. The
figures looking out on the blue water that reaches to Panama and
the shores of Peru, are historical. In the center is the Conquista-
dor. Flanking his stately figure on each side is the pirate of the
Spanish Main, the adventurer who served with but a color of law-
ful war under Drake, the buccaneer that followed Morgan to the
sack of Panama. (P. 44.) These statues are by Allen Newman.

Every man jack of the eight pirates on the four portals is appar-
ently bow-legged. There is a vast space between the knees of these
buccaneers of Panama, but when you look more closely it is hard
to decide whether those pirate knees are really sprung, or whether
it is the posture of the figures that suggests the old quip about the
pig in the alley. The sculptor has at least given to the figures a
curious effect of bandy legs. The feet are set wide apart, the space
between and behind the legs is deeply hollowed out, and the rope
which hangs from the hands curves in over the feet to add to the
illusion. There used to be a saying that cross-eyed people could
not be honest. Similarly, perhaps, Newman thought the appear-
ance of bow-legs would increase the villainy of his pirate. Cer-
tainly, no such blood-curdling ruffian has been seen out of comic
opera.

The east wall of the palace group becomes Old Italian, to har-
monize with the Roman architecture of the Machinery Palace
opposite. The portals suggest those of ancient Italian city walls.
In the niches stands Albert Weinert's "Miner," here used because
the Palace of Mines forms one half the wall.

36 THE JEWEL CITY

In the long avenue that runs east and west through the center of
the group, the unity of the eight buildings becomes more apparent
as we view the noble arches which join them, and note the char-
acter of their inner facades. Education and Food Products are
alike in the walls and portals fronting on the dividing aisle. The
Spanish architecture of the south facade of Education is here car-
ried over to Food Products. Similarly, the avenue between Mines
and Varied Industries is the same on both sides, carrying out the
Old Italian of the east front, and with The Miner repeated in the
portal niches of both palaces. The avenues leading from the Court
of the Universe to the Court of Ages and the Court of Seasons have
been variously called the Aisles of the Rising and the Setting Sun,
or the Venetian and Florentine Aisles. Their four walls are in the
style of the Italian Renaissance, and show a diaper design similar
to that on the Italian towers of the Courts of Flowers and Palms.

In an artistic sense, this group is incomplete without the PAL-
ACE OF FINE ARTS on the west and MACHINERY HALL on the
east. (Pp. 105, 106.) Balancing each other in the general scheme,
they form the necessary terminals of the axis of the Exposition
plan. This matter of balance has been carefully thought out every-
where, and affords a fine example of the co-operation of the many
architects who worked out the vast general design. The Courts of
Seasons and Ages are set off against each other; the Courts of Palms
and Flowers weigh equally one against the other; the Arches of the
Nations not only balance but match; even the Tower of Jewels,
which is the center of the whole plan, is offset by the Column of
Progress. In the South Gardens, the Palace of Horticulture is bal-
anced against Festival Hall.

COLOR AND MATERIAL. — All other Expositions have been
almost colorless. This is the first to make use of the natural colors
of sea and sky, of hill and tree, and to lay upon all its grounds and
buildings tints that harmonize with these. Jules Guerin, the master
colorist, was the artist who used the Exposition as a canvas on
which to spread glorious hues. Guerin decided, first, that the basic
material of the buildings should be an imitation of the travertine
of ancient Roman palaces. On this delicate old ivory background
he laid a simple series of warm, yet quiet, Oriental hues, which, in
their adaptation to the material of construction and to the archi-
tecture, as well as in their exquisite harmony with the natural set-
ting, breeds a vast respect for his art.

The color scheme covers everything, from the domes of the
buildings down to the sand in the driveways and the uniforms of
the Exposition guards. The walls, the flags and pennants that
wave over the buildings, the shields and other emblems of heraldry

SOUTH PORTAL, PALACE OF VARIED INDUSTRIES. This is the most elaborately
ornamented doorway in the Exposition, an adaptation from the celebrated Six-
teenth-century portal of the Hospice of Santa Cruz, Toledo, Spain. Photo-
graphed at night.

( P. 37 )

GUERIN'S PALETTE OF EXPOSITION COLORS 39

that hide the sources of light, draw their hues from Guerin's plan.
The flowers of the garden conform to it, the statuary is tinted in
accordance with it, and even the painters whose mural pictures
adorn the courts and arches and the Fine Arts Rotunda were
obliged to use his color series. The result gives such life and
beauty and individuality to this Exposition as no other ever had.
It makes possible such beautiful ornamentation as the splendid
Nubian columns of the Palace of Fine Arts, and the glories of the
arches of the Court of the Universe. (See frontispiece.)

Go into that Court on a bright day and take note of the art that
has made Nature herself a part of the color plan. From a central
position in the court, where one can look down the broad approach
leading from the bay, Nature spreads before the beholder two
expanses of color, the deep blue of salt water sparkling in the sun,
and the not less deep, but more ethereal, blue of the California sky.
With this are the browns and greens of the hills beyond the bay,
and, nearer at hand, the vivid verdure of lawns and trees and
shrubs. All these the designer used as though they were colors
from his own palette. To go with them in his scheme he chose for
pillar and portico, for the wall spaces behind, for arch and dome,
for the decorations and for material of the sculptures, such hues
that the whole splendid court and its vistas of palaces beyond
blend with the colors of sea and sky and of green living things in a
glorious harmony.

Such a view of the heart of the Exposition at its best compels
recognition of Guerin's skill in color. It needed a vivid imagina-
tion to realize the possibilities of the scene, and visualize it. It
required infinite delicacy and a fine sense of the absolute Tightness
of shade and tint to produce such harmonious beauty. The mere
thought of it is a lesson in art.

The decision of the architects to develop the theme of an Ori-
ental walled city, and the natural setting of the site, Mediterranean
in its sea and sky, led Guerin to select Oriental colors. Aiming at
simplicity, he decreed that not more than eight or nine colors
should be found upon the subdued palette from which he would
paint the Exposition. Then he took into consideration the climate
and atmospheric conditions peculiar to San Francisco. Every
phase of sky and sea and land, every shadow upon the Marin hills,
across the bay, was noted in choosing an imitation of natural trav-
ertine for the key color of the Palaces.

This is a pale pinkish-gray-buff, which may be called old ivory.
It is not garish, as a dead white would be, especially in the strong
California sunlight, but soft and restful to the eye. It harmonizes
with the other colors selected, and, most important of all, it avoids

40 THE JEWEL CITY

a certain "new" effect which pure white would give, and which is
deadly to art.

Paul Deniville, who had already developed a successful imita-
tion of travertine, was engaged to make the composition to be
applied over the exterior walls. This is a reproduction in stucco
of the travertine marble of the Roman palaces of the period of
Augustus. This marble is a calcareous formation deposited from
the waters of hot springs, usually in volcanic regions, and is com-
mon in the hills about Rome. It often contains the moulds left by
leaves and other materials incorporated in the deposit. These
account for the corrugations of the stone when it is cut. In Cali-
fornia, as in other regions where hot springs are found, travertine
is not uncommon. It is found notably in the volcanic district of
Mono County, and elsewhere, sometimes in the form of Mexican
onyx, which is only a translucent variety of the same marble. In
its reproduction here the marble has been imitated even to the nat-
ural imperfections which roughened the Italian stone. In the con-
cave surfaces of the ornamentation the color has been deepened,
so that it appears sometimes as a rich reddish brown. All this
enhances the antique effect, making the palace walls and columns
still more like those of the old Roman construction.

Besides the travertine the eight other colors employed are :

1. French Green, used in all lattices, flower tubs, curbing of
great plats, where it complements the green of the grass, in the
exterior woodwork and some of the smaller doors.

2. Oxidized Copper Green, a peculiar mottled light green. All
the domes, except the six yellow ones in the Court of the Universe,
are of this light green. It forms a sharp contrast with the blue
sky and a pleasing topping to the travertine walls.

3. Blue Green, found in the ornamentation of the travertine,
and in the darker shades at the bases of the flag poles. These first
three colors, all in tones of green, are regarded as one unit in the
spectrum of nine colors allowed by Guerin.

4. Pinkish-Red-Gold, used in the flag poles and lighting stand-
ards only. It is a very brilliant and striking pigment, and is
always topped with gold.

5. Wall-Red, used in three tones. They are found in the back-
grounds of the colonnades, courts and niches, on the tiled roofs,
and in the statuary. These reds run from terra-cotta to a deep
russet, and predominate in the interiors of the principal courts.

6. Yellow-Golden-Orange, largely used in enriching the trav-
ertine and in enhancing shadow effects. It is found in the archi-
tectural mouldings and in much of the statuary. The following
rule was adopted in regard to the coloring of the statuary: That
which is high off the ground, that is, the figures surmounting the
domes and spires, is of golden yellow, while that close to the eye

A TRIUMPH OF CO-OPERATION 41

of the beholder is of verde-antique, a rich copper-green streaked
with gray, and much is left in the natural travertine tint.

7. Deep Cerulean Blue and Oriental Blue, verging upon green, are /
used in the ceilings and other vaulted recesses, in deep shadows,

in coffers and in the background or ornamentation in which trav-
ertine rosettes are set in cerulean blue panels. It might be called
electric blue. It is brilliant and at the same time in harmony
with the other colors.

8. Gray, very similar to the travertine.

9. Marble Tint, spread over the travertine in places with a
transparent glaze.

10. Verde-Antique, really one of the many shades of green — a
combination of the copper-green and a soft gray, and therefore
not to be counted as one of the nine cardinal colors. It simulates
corroded copper, and has faint yellow and black limes.

With the gamut thus restricted by the taste and discrimination
of a master, the decorators and artists were strictly limited to the
nine colors named. No one might use other than cerulean blue, if
he employed blue at all; no other red than the tone popularly
known as "Pompeiian" has been admitted in the scheme. In this
red the admixture of brown and yellow nullify any tendency
towards carmine on crimson. The French and the copper greens
and the intermediate shades approved by Guerin are the only
greens allowed.

Here is seen the great advantage of a one-man idea. No other
exposition was ever so carefully or successfully planned in this
particular. There is no court of one color clashing with a dome,
palace or tower of conflicting tone, whether near by or at a dis-
tance. All is in harmony.

Working with Guerin, John McLaren, in charge of the land-
scape gardening, so selected the flowers which border the paths
and fill the parterres that they too conform to the color scheme.
Though three different complete floral suits are to be seen at the
Exposition in three periods, each one accords with the hues of
wall and tower, completing in harmony the effect of the whole.
The pinkish sand spread on the paths and avenues to harmonize
with other ground colors was not always tinted. Some one had
noticed that the white beach sand at Santa Cruz turned pink when
heated. Seizing upon this fact, McLaren and Guerin used it to
give a final touch to their scheme of color. They drew another
lesson from the washerwoman. A familiar laundry device was
used to give sparkle and brilliance to the waters of the pools and
lagoons. They were blued, not by dumping indigo into the water,
but by tinting the bottoms with blue paint.

THE TOWER OF JEWELS

Imposing as the central accent of the Exposition's architecture —
Its magic glow at night — A magnificent Roman arch — ''Jewels"
of the Tower — An historical landmark — Inscriptions, sculp-
ture and murals — Fountains of "Youth" and "El Dorado" — An
epitome of the Exposition's art.

|HE TOWER OF JEWELS, Carrere and Hastings, ar-
chitects, is the central structure in the Exposition
architecture. (See p. 47.) It plays a triple role. In
architecture it is the center on which all the other
buildings are balanced. In relation to the theme of
the Exposition, it is the triumphal gateway to the commemorative
celebration of an event the history of which it summarizes in its
sculpture, painting and inscription. Last of all, it is an epitome
of the Exposition art.

Towering above everything else, it is at once the culminating
point and the center of the Exposition scheme. It links the palaces
of the central group, otherwise divided into two sections. Upon
it rests the balance of Festival Hall and the Palace of Horticulture,
of the courts, the gardens, the Palace of Machinery and the Palace
of Fine Arts. It finds its own balancing structure in the Column of
Progress. It is intended to be the first thing seen from afar, the
point from which the eye travels to lesser things on either hand.

At night the Tower remains the center of the transformed Expo-
sition. Under the white light of the powerful projectors, details
disappear, the structure is softened into a form almost ghostly. It
becomes ethereal. All its daytime glitter gone, it seems really spir-
itual. The jewels hung over the upper portion do not flash out a
diamond brilliance, as they might have been expected to do; rather
they spread the light in a soft film about the Tower. (P. 135.)

From close at hand, the arch and its flanking colonnades are
truly imperial. There the ornamentation and color of the upper
part are not in the eye. Up to the cornice above the arch, the mass
of the Tower is magnificent in proportion and harmonious in line
and color. It almost seems that the builders might have stopped
there, or perhaps have finished the massive block of the arch with
a triumphant mass of sculpture.

Studied from the ground underneath the Tower and around it,
the arch and the two little colonnaded courts in the wings are glor-
iously free and spacious, with the spaciousness that the Exposition
as a whole reflects, that of the sea and sky of its setting. I walked

o ~
si a
*> 5

THE "JEWELS" OF THE TOWER 45

here when the ocean breeze, fresh from winter storms at sea, was
sweeping through them. There is no confinement, no sense of
imprisonment from the boundless depths of air outside. Some-
thing which the architect could not include in his plans has come
in to make constant this increase in the sense of freedom and
space. The openings of the arches, being the only free and uncon-
fined passageways through the south facade of the palace group,
provide the natural draft on this side for the interior courts. The
air rushes through at all times, even when no breeze is stirring
outside. This uncramped movement of air currents, far from
being unpleasant, gives the same sense of open freedom that one
gets on a bold headland, where the ocean winds whip the flowers
and lay the grass flat.

From the court behind the Tower you see the mansioned hills
of San Francisco through the colonnades like panelled strips of
painting; and, looking northward, the long spaces over the bay to
the great Marin hills beyond.

The jewels on the Tower give it a singularly gay and lively
touch when the sun is bright and the wind blowing. The wind is
seldom absent around the top of so lofty a structure, and there
these bits of glass are always sparkling. At night they produce,
under the strong white light of a whole battery of giant reflectors
hidden on other buildings, the mystic haze that shrouds the Tower.
They were a fine idea of the chief of illumination, W. D'A. Ryan,
giving just a touch of brilliance to an Exposition otherwise clothed
in soft tones. The jewels are only hard glass, fifty thousand of
them cut in Austria for the purpose, prismatic in form, and each
backed with a tiny mirror. Hung free to swing in the wind, they
sparkle and dance as they catch the sun from different angles.

As the great gate to the Exposition, the Tower becomes histor-
ical in relation to the event celebrated beyond its archway. Its
purpose, from this point of view, is to tell the entering visitor
briefly of the milestones along the way of time up to the digging of
the Canal. Its enrichment of sculpture, painting and inscription
summarizes the story of Panama and of the Pacific shore north-
ward from the Isthmus. The architect has expressed in its upper
decorations something of the feeling of Aztec art. The four
inscriptions on the south faces of the arches tell how Rodrigo de
Bastides discovered Panama in 1501; how Balboa first saw the
Pacific Ocean in 1513; how the United States began to dig the Canal
in 1904, and opened it in 1915. The four on the north faces epit-
omize the history of California, thus honored as the state that
commemorates the opening of the Canal. They speak of Cabrillo's
discovery of California in 1542, of the founding of the Mission of

46 THE JEWEL CITY

San Francisco by Moraga, in 1776, of the acquisition of California
by the United States, 1846, and its admission to the Union in 1850.

The sculpture carries out the same idea. Pizarro and Gortez
sit their horses before the Tower, splendid figures of the Spanish
conquerors, the one by Charles C. Rumsey, the other by Charles
Niehaus. (P. 48.) Above the entablature of the supporting col-
umns are repeated around the outer wall of the arch, Adventurer
and Priest, Philosopher and Soldier, types of the men who won the
Americas, all done by John Flanagan. Above the cornice, the
mounted figures by F. M. L. Tonetti are those of the Spanish cava-
liers, with bannered cross. The eagles stand for the Nation that
built the Canal. Excellent in spirit are Flanagan's figures of the
four types, especially that of the strikingly ascetic Priest. (P. 44.)
Besides their symbolism, the statues fulfill a useful architectural
purpose in relieving what would otherwise be the blankness of the
wall. But the same cannot be as truly said of the Armoured Horse-
men above. Vigorous as they are, they are not in the right place.
They clutter up the terrace on which they stand. The globe on the
pinnacle, with its band, signifies that now a girdle has been put
around the earth.

On the side, walls of the arch under the Tower, the murals by
William de Leftwich Dodge tell the story of the triumphant achieve-
ment which the Exposition commemorates. On the east, the cen-
tral panel pictures Neptune and his attendant mermaid leading the
fleets of the world through the Gateway of All Nations. (P. 53.)
On one side Labor, with its machines, draws back from the com-
pleted task, and, on the other, the Intelligence that conceived the
work and the Science that made it possible, move upward and
onward, while a victorious trumpeter announces the triumph. One
figure, with covered face, flees from the appeal of the siren, but
whom he represents, or why he flees, I cannot tell.

In the smaller panel to the left, Labor is crowned and all who
served with toil are acclaimed. Its companion picture on the
right represents Achievement. The Mind that conceived the work
is throned, the Sciences stand at one side, while a figure crouching
before the bearer of rewards points to Labor as equally worthy.

On the west side of the arch, the central panel portrays the
meeting of Atlantic and Pacific, with Labor joining the hands of
the nations of east and west. In the panel to the left, enlightened
Europe discovers the new land, with the savage sitting on the ruins
of a forgotten civilization, the Aztec once more. On the right
America, with her workmen ready to pick up their tools and begin,
buys the Canal from France, whose labor has been baffled.

The two lovely fountains in the wings of the Tower draw their

THE TOWER OF JEWELS, Carrere and Hastings, architects, is the imposing central
feature of the main palace group. Before it, the FOUNTAIN OF ENERGY,
A. Stirling Calder, .sculptor, joyously proclaims the union of the Atlantic and
Pacific bit the Panama Canal. The Tower is 435 feet high. Its Arch is 110 feet.

( P. 47 )

'CORTEZ," Charles H. Niehaus, sculptor, stands before the Tower of Jewels,
east of the arch, and opposite to Rumsey's companion group, "Pizarro."
These lordly equestrian statues are full of strength and movement, and
finely typify the Spanish conquerors of the New World.

( P. 48 )

FOUNTAINS ILLUSTRATE FAMOUS LEGENDS 49

inspiration from the days of the conquistadors. Mrs. Harry Payne
Whitney's Fountain of El Dorado is a dramatic representation of
the Aztec myth of The Gilded One, which the followers of Gortez,
in their greed for gold, mistook for a fact instead of a fable. (P.
54.) The Fountain of Youth by Edith Woodman Burroughs finds
its justification as a part of the historical significance of the
Tower in the legend of that Fountain of Eternal Youth sought by
Ponce de Leon. (P. 53.) The interpretation of these sculptures is
set forth in the chapter on Fountains.

The Tower of Jewels epitomizes the Exposition's art. The glo-
ries of its architecture, color, sculpture, painting, and landscape
gardening all find an expression here. In architecture it reflects
something of almost all of the orders found in the Exposition. In
the main it is Italian Renaissance, which means that the basic char-
acters are Roman and Greek, enriched with borrowings from the
Orient and Byzantium. In column and capital, in wall and arch
and vaulted ceiling, it represents the architecture of the whole
Exposition, and so harmoniously as to form a singular testimony
to the unity of the palace scheme.

In color, from the dull soft gold of the columns of the colon-
nades on either wing, through the vivid hues of Dodge's allegorical
murals under the arch, and the golden orange and deep cerulean
blue in the vaulted recesses, up to the striking green of columns on
the upper rounds of the Tower, the structure summarizes all the
pigments which the master of color, Guerin, has laid upon the
Exposition.

In sculpture, the conquistadors in front, the hooded Francis-
cans and the Spanish warriors who stand around the cornice, the
corner figures on the Tower above, and, finally, the great globe on
top, repeat in varied form the themes of palace, court, facade, and
entrance. It has its own fountains in its own little courts.

Then, as a final touch to complete this epitome of Exposition
art, the dark cypresses set in the niches on either side of the open-
ings of the arch, gracefully express the debt the whole palace
scheme owes to its landscape engineer. In the original models of
the Tower, these niches were designed for vases. It was a happy
thought that placed the cypresses there instead.

VI.

THE COURT OF THE UNIVERSE

Most important of the three great courts of the "Walled City" — A
meeting-place of East and West — Roman in its architecture
and atmosphere, suggesting the vast Piazza of St. Peter's — Tri-
umphal Arches of the Nations — Their types of the great races
of Orient and Occident — Fine mural paintings by Simmons
and Du Mond — Fountains of the Rising and the Setting Sun
— Aitken's "Elements" — The "Column of Progress."

HE court is the key to the scheme of the palace group
of the Exposition. Leaving out the state and foreign
quarters, and the other suburbs, and omitting the Fine
Arts Palace and Machinery Hall, which, from a purely
architectural standpoint, are merely balanced orna-
ments needed to complete the whole, the Exposition city is a pal-
ace of blank walls inclosing three superb courts.

The court is an essential element of the Oriental architecture
of the Mediterranean, which provided the theme of the Exposition
plan. There, however, it is the patio, the place of the siesta, the
playground of the children. Here the courts have been made the
chief architectural feature of the group. There the courts are pri-
vate. Here they are merely hidden.

The central court at the Exposition, the largest and the most
splendid, is the COURT OF THE UNIVERSE. (See p. 63.) It is
the most important, too, in the story which its sculptures tell, and
in its relation to the purpose of the Exposition. Whether it is also
the most beautiful is a matter about which opinions differ. Many
persons admire Mullgardt's romantic Court of Ages beyond any-
thing else, while others are in love with the calm Court of Seasons.
Paradoxically, the Court of the Universe suffers from its very mag-
nificence. It is so vast that the beholder is slow to feel an intimate
relation with it. The same is true of some of the noblest sights in
nature. First seen, there is something disappointing in the Grand
Canyon. There is too much in the view to be comprehended until
after many days. In this court, the visitor is pleased with its splen-
did proportions, its noble arches, its rich sculpture, the wonderful
blending of its colors with those of sea and sky; but the pleasure
at first is of the intellect rather than of the emotions. Like other
big and really fine things, it grows on one. The sweep of its colon-
nades is majestic, the arches are noble monuments, the Column of
Progress is inspiring, the fountains show a graceful play of water,

A ROMAN COURT 51

the sculpture is big, strong, and significant; the flowers of the
sunken garden are a glory long to be remembered.

The Court of the Universe is Roman in architecture, treated in
the style of the Italian Renaissance. Its commanding features, the
Triumphal Arches and the magnificent flanking colonnades are
most Roman in spirit, their Italian decoration appearing in the
medallions and spandrels of the arches, the garlands hung along
the entablature of the colonnade, and the interior adornment of
the vaulted corridors. The columns, including the huge Sienna
shafts before the arches and the Tower of Jewels, are Roman
Corinthian, with opulent capitals, though not too florid when used
in a work of such vast extent. Most Roman of all is the great
Column of Progress, at the north end of the court.

McKim, Mead and White of New York, the architects, had the
Piazza of St. Peter's at Rome in mind when they designed this
great sweep of colonnades. There, too, they borrowed from the
circle of saints the idea of the repeated Star figure. The colon-
nade not only encloses the court but is produced along the sides
of the Palaces of Agriculture and Transportation to form two cor-
ridors of almost Egyptian vastness. These two features, the arches
and the colonnades, here at the center of the palace group, strike
the Exposition's note of breadth. Their decoration is the key to
the festal richness of all the adornment.

By day the four entrances to the court are its finest features.
Nowhere in the whole Exposition is the air more gloriously free
than around the lofty arch and colonnades of the Tower of Jewels.
Nowhere is the sunlight purer, or the sky bluer, than over the broad
approach leading up from the glancing waters of the bay, past the
aspiring Column of Progress, and between the noble colon-
nades of the palaces on either hand. From within the court, or
from the approaches on east and west, the triumphal ARCHES OF
THE NATIONS impress one with the magnificence of their pro-
portions, their decoration, and their color. There the Oriental
hues of the Exposition are carried upward, to meet and blend with
the sky, and magically to make the heavens above them bluer than
they really are. (See frontispiece.)

There is little Oriental about the court, except the color and the
group of the Nations of the East above the Arch of the Rising Sun.
The colonnade is Corinthian, all the arches are Roman, the sculp-
ture is classic, the paintings are romantic, mystic, — the Court of
the Universe may properly hold all things. It is thus an arena for
the expression of universal themes, on which the nations of the
East and West look down from their lofty Arches of Triumph.
With this key, the symbolism of the sculpture in the court is easy.

52 THE JEWEL CITY

The Stars, by Calder, stand in circle above the colonnade. The
frieze below the cornices of the pavilion towers represents the
SIGNS OF THE ZODIAC, by Herman A. MacNeil.

The graceful figures atop the two fountain columns in the oval
sunken garden are the RISING and the SETTING SUN, by Adolph
A. Weinmann. (P. 69.) In the east the Sun, in the strength of
morning, the masculine spirit of "going forth," has spread his
wings for flight; in the west, the luminary, now essentially fem-
inine, as the brooding spirit of evening, is just alighting. The
sculptural adornment of the shafts is detailed in the chapter on
Fountains.

The titanic ELEMENTS slumber on the balustrade, one on
either hand of the stairways leading dowrn on north and south into
the sunken area. (P. 64.) On one side, on the north, the Elemental
Power holds in check the Dragon of FIRE. The whole figure
expresses the primitive terror of Fire, a fear that still lives in the
beasts. On the other side lies WATER, the roaring Ocean, kelp in
his hair, Neptune's trident in his hand, by him one of his fabled
monsters. On the south, eagles of the AIR hover close to the winged
figure of the woman, who holds up the evening star and breathes
gently down upon her people. Icarus, who was the first airman,
appears upon her wings. Opposite, rests EARTH, unconscious
that her sons struggle with her. These remarkably expressive fig-
ures are the work of Robert Aitken.

The youthful groups by Paul Manship upon the extremities of
the balustrade, on either hand of the eastern and western stair-
ways, represent MUSIC and POETRY, Music by the dance, Poetry
by the written scroll. The sculpture is archaic in type, — an imi-
tation of Greek imitations of still earlier models.

The colossal groups on the ARCHES OF THE NATIONS sym-
bolize the meeting of the peoples of the East and West, brought
together by the Panama Canal, and here uniting to celebrate its
completion. In the group of the NATIONS OF THE EAST the ele-
phant bears the Indian prince, and within the howdah, the Spirit
of the East, mystic and hidden. (P. 63.) On the right is the Bud-
dhist lama from Tibet, representative of that third of the human
race which finds hope of Nirvana in countless repetitions of the
sacred formula, "Om Mani Padme Hum." Next is the Moham-
medan, with the crescent of Islam; then a negro slave, and then a
Mongolian warrior, the ancient inhabitant of the sandy waste, a
type of those Tartar hordes which swept Asia under Tamerlane
and Genghis Khan. On the left of the Indian elephant are an Arab
falconer, an Egyptian mounted on a camel and bearing a Moslem
standard, then a negro slave bearing a basket of fruit on his head,

UNDER THE ARCH OF THE TOWER OF JEWELS. The panel above the Corinthian
columns is "The Gateway of All Nations," one of Dodge's gorgeous murals cele-
brating the Canal. The girlish central figure of the FOUNTAIN OF YOUTH,
Edith Woodman Burroughs, sculptor, is seen through the doorway.

( P. 5;} )

"WESTWARD THE STAR OF EMPIRE!" 55

and a sheik from the deserts of Arabia, all representing the Moham-
medans of the nearer East. Thus are figured types of the great
Oriental races, the Hindoo, the Tartar, which includes the Turk
and the northern Chinese; the Chinese stock of the south, the Arab,
and the Egyptian. Only the Persian is omitted, and possibly the
Japanese, unless that, too, is Mongol.

On the Arch of the Setting Sun, the prairie schooner is the cen-
ter of the group of the NATIONS OF THE WEST, on the top a fig-
ure of Enterprise, the Spirit of the West. (P. 59.) On either side
of her is a boy. These are the Heroes of Tomorrow. Between the
oxen rides the Mother of Tomorrow. Beside the ox at the right is
the Italian immigrant, behind him the Anglo-American, then the
squaw with her papoose, and the horse Indian of the plains. By the
ox at the left is the Teuton pioneer, behind him the Spanish con-
quistador, next, the woods Indian of Alaska, and lastly the French
Canadian.

Three sculptors collaborated in the modeling of these groups,
A. Stirling Calder, Leo Lentelli, and Frederick G. R. Roth.

Of the MURAL PAINTINGS under the Arches of the Nations,
the two by Edward Simmons in the arch on the east are an allegory
of the movement of the peoples across the Atlantic, while those by
Frank Vincent Du Mond in the western arch picture in realistic fig-
ures the westward march of civilization to the Pacific. Histor-
ically, the picture on the southern wall of the Arch of the Nations
of the East comes first. Here Simmons has represented the west-
ward movement from the Old World through natural emigration,
war, conquest, commerce and religion, personifying these in types
of the people who have crossed the Atlantic. On the strand,
beyond which appear types of the navies of the ages, are the fol-
lowing: an inhabitant of the fabled Atlantis, here conceived as a
savage; the Greek warrior, perhaps one of those who fared with
Ulysses over the sea to the west; the adventurer and explorer, por-
trayed as Columbus; the colonist, Sir Walter Raleigh; the mission-
ary, in garb of a priest; the artist, and the artisan. All are called
onward by the trumpet of the Spirit of Adventure, to found new
families and new nations, symbolized by the vision of heraldic
shields. Behind them stands a veiled figure, the Future listening
to the Past. The long period in which this movement has been in
progress is expressed by the dress of the travellers.

This might be called the Material Movement to the West, for the
picture opposite depicts the Ideals of that progress. Hope leads
the way, though some of the Hopes, shown as bubbles, were but
Illusions. Then follow Adventure, Art, Imagination, Truth, Reli-
gion, and the spirits of domestic life. Simmons' work is charac-

56 THE JEWEL CITY

terized by grace and delicacy. The pictures are pleasing as form
and color alone, but without titles the allegories are too difficult
for people unaccustomed to interpreting this kind of art.

Du Mond's two murals in the western arch are easier. They
make a continuous story. The first chapter, on the north side, pic-
tures the emigrant train, led by the Spirit of Adventure, leaving
for the West, while the second shows the pioneers reaching the
shores of the Pacific and welcomed by California. To express the
many-sided development of the West, Du Mond has portrayed indi-
viduals as the types of the pioneers. Here are Junipero Serra, the
priest; Anza, the Spanish captain who first trod the shores of San
Francisco Bay; Joseph Le Conte, the scientist; Bret Harte, the
author; William Keith, the artist; and Starr King, the divine. The
energy of these men has actually outstripped the Spirit of Adven-
ture. Du Mond's story parallels in a way that pictured by Simmons.
Color and composition are both exceedingly grateful to the eye.

The COLUMN OF PROGRESS, outside the court, commands
the entire north front of the Exposition, as the Tower of Jewels
does the southern. (P. 57.) Symmes Richardson, the architect,
drew his inspiration from Trajan's Column at Rome, an inspira-
tion so finely bodied forth by the designer and the two sculptors
who worked with him, MacNeil and Konti, that this shaft stands
as one of the most satisfying creations on the Exposition grounds.
Its significance completes the symbolism of the Exposition sculp-
ture and architecture, as the joyous Fountain of Energy at the
other end of the north-and-south axis begins it. That fountain
celebrates the completion of the Canal. The Tower of Jewels with
its sculpture tells the historical story of the conquest of the western
seas and their shores. The Court of the Universe is the meeting-
place of the Nations, come to commemorate the joining of East
and West. From this Court, a splendid avenue leads down to the
border of the Western Ocean, where stands the Column of Prog-
ress, beyond the Exposition. Both in its position and in its sculp-
ture the column signifies that, this celebration over, human en-
deavor stands ready to go on to still vaster enterprises on behalf
of mankind.

The figure atop this Column is the ADVENTUROUS BOWMAN,
past human achievement behind him, seeking a new emprise in
the West, whither he has loosed his arrow. At his back is a figure
of Humanity, signifying the support of mankind. By his side is
the woman, ready to crown his success. (P. 58.) The question
has often been asked, why there is no string to the archer's bow.
The sculptor properly omitted it, for, at the moment the arrow
leaves the bow, the cord is vibrating far too strongly to Be visible.

'THE ADVENTUROUS BOWMAN," a symbol of the never-ending
quest of new adventure. Supported by the frieze of the "BURDEN
BEARERS," it tops the splendid Column of Progress. Both sculp-
tures are by Herman A. MacNeil.

( P. 58 )

ARCH OF THE SETTING SUN, in the Court of the Universe, bears an Occidental
group, the NATIONS OF THE WEST, composed of American Indian and Pioneer
types, gathered around the PRAIRIE SCHOONER, and accompanied by the
MOTHER OF TOMORROW and the SPIRIT OF ENTERPRISE. This huge sculp-
ture, like the "Rations of the East," is the joint work of A. Stirling Calder, Leo
Lentelli and F. G. R. Roth.

( P. 59 )

FRIEZE AT BASE OF THE COLUMN OF PROGRESS. These are two of the
four panels by Isidor Konti which represent striving humanity, the founda-
tion of all progress.

( P. GO )

A COURT OF UNIVERSAL THEMES 61

The cylindrical frieze below the Bowman represents the Bur-
den Bearers. This, with the Bowman, is the work of H. A. Mac-
Neil. The spiral of ships ascending the shaft symbolizes the
upward course of man's progress. Around the base is the frieze
by Isidor Konti, on three sides striving human figures, on the
fourth celestial trumpeters announcing victory. The whole sig-
nifies man's progress through effort. (P. 60.)

Yet the visitor must not look for a story in all the sculpture
here or elsewhere. Some, of this art is merely decorative, fulfill-
ing purposes of harmony or completeness in the general mass. The
winged figures by Leo Lentelli on the columns before the Arches
of the Nations are simply ornaments, relieving, with their shafts,
what would otherwise be too sheer a wall in the structure. They
may be angels or they may be genii. Decorative, also, are the
sculptured medallions between these columns, and the Pegasi
on the spandrels of the arch, the medallions done by Calder, the
Pegasi by Roth.

The caryatids in pairs of male and female surmounting the bal-
ustrade of the sunken garden are merely lampbearers. The spout-
ing monsters in the fountain pools are but ornamental, and so are
the figures in relief under the basins. Those at the base of the
shafts are described in detail in the chapter on Fountains. In the
decoration of the entablature of the colonnade, the skull of the ox
repeated between the garlands recalls the vicissitudes of the
pioneers in their long march across the continent.

The Court of the Universe, this huge Piazza of the Nations, is
thus all-inclusive. Within its vast oval is room for every theme.
From it lead the ways to all the Exposition. In spirit it is as cos-
mopolitan as the Forum under the Caesars. Its art revives for us
"The glory that was Greece,
The grandeur that was Rome."

INSCRIPTIONS IN COURT OF THE UNIVERSE

I. ARCH OF THE RISING SUN, east side of the Court.

(a) Panel at center of attic, west side of the Arch, facing the Court:
THE MOON SINKS YONDER IN THE WEST WHILE IN THE

EAST THE GLORIOUS SUN BEHIND THE DAWN APPEARS.
THUS RISE AND SET IN CONSTANT CHANGE THOSE SHINING
ORBS AND REGULATE THE VERY LIFE OF THIS OUR WORLD.
— Kalidasa, India.

(b) Small panel at right of center, facing the Court:

OUR EYES AND HEARTS UPLIFTED SEEM TO GAZE ON
HEAVEN'S RADIANCE.— Hitomaro, Japan.

THEY WHO KNOW THE TRUTH ARE NOT EQUAL TO THOSE
WHO LOVE IT. — Confucius, China.

62 THE JEWEL CITY

INSCRIPTIONS IN COURT OF THE UNIVERSE

Continued

(d) Panel at center of attic, east side of the Arch:

THE BALMY AIR DIFFUSES HEALTH AND FRAGRANCE. SO
TEMPERED IS THE GENIAL GLOW THAT WE KNOW NEITHER
HEAT NOR COLD. TULIPS AND HYACINTHS ABOUND. FOS-
TERED BY A DELICIOUS CLIME THE EARTH BLOOMS LIKE A
GARDEN.— Firdausi, Persia.

(e) Small panel at right of center:

A WISE MAN TEACHES BE NOT ANGRY. FROM UN-
TRODDEN WAYS TURN ASIDE.— Phra Ruang, Siam.

(f) Small panel at left of center:

HE THAT HONORS NOT HIMSELF LACKS HONOR WHERE-
SOE'ER HE GOES.— Zuhayr, Arabia.

II. ARCH OF THE SETTING SUN, west side of the Court.

(a) Panel at center of attic, east side of the Arch, facing the Court:
FACING WEST FROM CALIFORNIA'S SHORES— INQUIRING

TIRELESS SEEKING WHAT IS YET UNFOUND — I A CHILD
VERY OLD OVER WAVES TOWARD THE HOUSE OF MATER-
NITY THE LAND OF MIGRATIONS LOOK AFAR— LOOK OFF
THE SHORES OF MY WESTERN SEA THE CIRCLE ALMOST
CIRCLED. — Whitman, America.

(b) Small panel at right of center:

TRUTH — WITNESS OF THE PAST COUNCILLOR OF THE
PRESENT GUIDE OF THE FUTURE.— Cervantes, Spain.

IN NATURE'S INFINITE BOOK OF SECRECY A LITTLE I
CAN READ. — Shakespeare, England.

(d) Panel at center of attic, west side of the Arch:

IT IS ABSOLUTELY INDISPENSABLE FOR THE UNITED
STATES TO EFFECT A PASSAGE FROM THE MEXICAN GULF
TO THE PACIFIC OCEAN AND I AM CERTAIN THAT THEY
WILL DO IT— WOULD THAT I MIGHT LIVE TO SEE IT BUT I
SHALL NOT.— Goethe, Germany.

(e) Small panel at right of center:

THE UNIVERSE — AN INFINITE SPHERE THE CENTER
EVERYWHERE THE CIRCUMFERENCE NOWHERE.— Pascal,
France.

(f ) Small panel at left of center :

THE WORLD IS IN ITS MOST EXCELLENT STATE WHEN
JUSTICE IS SUPREME.— Dante, Italy.

'EARTH" and "FIRE" are two of Robert Aitken's heroic figures of the Elements
in the Court of the Universe: Earth sleeping, unconscious that her sons
struggle with her; Fire, with the dragon of flames.

( P. 64 )

VII.

THE COURT OF THE AGES
(Officially called "The Court of Abundance.")

An artist's dream in romantic Orientalism — Mullgardt's own title
for it — His great "Tower of the Ages" — Mullgardt interprets
his architectural masterpiece — Brangwyn's splendid murals,
"Earth," "Air," "Fire" and "Water"— The "Fountain of Earth,"
by Robert Aitken, realism set amidst the romantic.

HE Court of the Universe is not Oriental, the COURT OF
THE AGES is. Not in architecture, but in feeling, in
the atmosphere with which the architect has invested
it, this court brings to mind those brilliant lands of the
Mediterranean touched by the East through the Moors.
You pass under its arcades and walk out into a region of the Sun,
warm, bright, dazzling. The architect, Louis Christian Mullgardt,
has caught the feeling of the South, — not the rank, jungle South
of the tropics; nor the mild, rich South of our own Gulf states; but
the hard, brilliant, arid South of the desert. This court expresses
Arizona, New Mexico, Spain, Algiers, — lands of the Sun. The very
flowers of its first gardens were desert blooms, brilliant in hue,
on leafless stalks. There are orange trees, but they, also, are
trees of the Sun, smooth of leaf, to retain moisture.

It is a court, too, of romance. It might be a garden of Allah,
with a plaintive Arab flute singing, among the orange trees, of the
wars and the hot passions of the desert. It might be a court in
Seville or Granada, with guitars tinkling and lace gleaming among
the cool arcades. It is a place for dreams.

The architecture has been called Spanish Gothic, but, accord-
ing to the architect, it "has not been accredited to any established
style." We may well be content to call it simply Mullgardt. The
court is an artist's dream, rather than a formal study in historic
architecture; and it is the more interesting, as it is the more orig-
inal, for that. Except for the central fountain, which, fine though
it is as a sculptured story, is out of harmony with the filigreed
arcades around it, all the sculpture in the court is, in feeling, an
intimate part of the romantic architecture. This portion of the
art of the court is best considered as decoration, finding its justifi-
cation in the beauty it imparts to the whole. It has genuine mean-
ing, but what that is remains inscrutable so long as the court is
called that of Abundance.

Mullgardt called his creation the "Court of the Ages." He was
overruled because the officials deemed the name not in accord

66 THE JEWEL CITY

with the contemporaneous spirit of the Exposition. They called it
the "Court of Abundance." In spite of the name, however, it is
not the Court of Abundance. Mullgardt's title gives a key to the
cipher of the statues. Read by it, the groups on the altar of the
Tower become three successive Ages of Civilization. (See p. 70.)

TOWER OF THE AGES.— This is the most admired of all the
Exposition towers, and with reason. The originality, strength and
beauty of its design set it above anything else of the sort yet seen
in America; and the symbolism of its sculptures, which are the
work of Chester Beach, is of almost equal interest with the tower
itself. At the base, on the gable above the arch, rude of face and
form, with beasts low in the scale, are the people of the Stone Age.
Above them is a mediaeval group, the Crusader, the Priest, the Peas-
ant Soldier armed with a cross-bow, with similar figures on the
side altars. Enthroned over all, with a crown on her brow, is Mod-
ern Civilization, expressed as Intelligence. At her feet are two
children, one with an open book, symbolizing Learning; the other,
a boy with a part of a machine, representing Industry. The sup-
porting figures on the sides are the Man and Woman of the Present,
sprung from the earlier types. The delicate finials rising from
the summit of the tower express Aspiration.

The two shafts at the head of the court, each surmounted by a
huntress with bended bow, symbolize Earth and Air. Originally
they were intended as finials to the double cascade which was to
have swept down to the court from the Altar of the Ages on the
tower. The cascade was not built, much to the benefit of the beauty
of the court, but the ornaments were suffered to remain. The giddy
females who support each shaft are sufficiently romantic to be in
keeping with the decoration of the court.

The three figures repeated around the top of the arcade are of
a hunter dragging a deer, a woman with her offspring on her
shoulder, and a primitive man feeding a pelican, all so happily
expressed that they are an intimate part of the arcade on which
they stand. They seem almost to have grown from their supports.
These figures alone, unless we add the florid ladies of the orna-
mental shafts, with the rich filigree of the arcades and the tower,
are all that express in any way the idea of Abundance carried in
the present name of the court.

Mullgardt conceived this court as a sermon in stone. Its sig-
nificance as a whole is best explained by the architect himself.
He interprets the court as rising in four horizontal strata :

"The court is an historical expression of the successive Ages of
the world's growth. The central fountain symbolizes the nebulous
world, with its innate human passions. Out of a chaotic condition

SYMBOLISM OF THE COURT OF AGES 67

came Water (the basin), and Land (the fountain), and Light (the
Sun, supported by Helios, and the electroliers). The braziers and
cauldrons symbolize Fire. The two sentinel columns to the right
and left of the tower symbolize Earth and Air. The eight paintings
of the four corners of the ambulatory symbolize the elements of
Earth, Air, Fire and Water. The central figure in the North Avenue
symbolizes 'Modern Time Listening to the Story of the Ages.'

"The decorative motifs employed on the surrounding arcade are
sea-plant life and its animal evolution. The piers, arches, reeds
and columns bear legendary decorative motifs of the transition of
plant to animal life in the forms of tortoise and other shell
motifs; — kelp and its analogy to the prehistoric lobster, skate,
crab and sea urchin. The water-bubble motif is carried through
all vertical members which symbolize the Crustacean Period,
which is the second stratum of the court.

"The third stratum, the prehistoric figures, surmounting the
piers of the arcade, also the first group over the tower entrance,
show earliest forms of human, animal, reptile and bird life, sym-
bolizing the Stone Age Period.

"The fourth stratum, the second group in the altar tower, sym-
bolizes human struggle for emancipation from ignorance and
superstition, in which Religion and War are dominating factors.
The kneeling figures on the side altar are similarly expressive.
The torches above these mediaeval groups symbolize the Dawn of
Understanding. The chanticleers on the finials surrounding the
court symbolize the Christian Era. The topmost figure of the altar
symbolizes Intelligence, 'Peace on Earth, Good Will Towards All,'
the symbols of Learning and Industry at her feet. The topmost
figure surmounting the side altar symbolizes Thought. The arched
opening forming the inclosure of the altar contains alternating
masks expressing Intelligence and Ignorance in equal measure,
symbolizing the Peoples of the World. A gradual development to
the higher forms of plant life is expressed upward in the altar
tower, the conventionalized lily petal being the highest form."

This, then, is the lesson, the deepest and most spiritual at-
tempted in any of the Exposition structures, and surely entitling
the court to be called, as its creator wished, the Court of the Ages.

BRANGWYN'S MURALS.— The mural paintings by Frank Brang-
wyn in the four corners of the arcades are rich, glorious in color,
freighted with the opulence of the harvest, but they symbolize the
four primeval elements — Earth, Air, Fire and Water. Their themes
have nothing to do with Abundance. It is unfortunate that these
pictures, far and away the best in the decoration of the Exposition,
have been hidden in the corners of a court. The canvases are bold,

68 THE JEWEL CITY

free, vast as the elements they picture. They need space. When
they were unpacked and hung on the walls of Machinery Hall, they
were far more effective. Here they are cramped by their close
quarters, and easily overlooked. People are not going in to see
them as they should, and so are missing one of the chief joys of
the Exposition, — the masterpieces of one of the world's greatest
living painters.

These representations of the four elements glow and burn with
the vivid hues of nature. All of the pictures have a setting of
autumn, that season of the year when nature puts on her dying
hues, and floods the earth with color. Their rich reds, purples,
yellows, browns, greens and indigoes are the hues of autumn skies,
the falling leaves of hardwoods, the dense foliage of pines, colors
of the harvest, of fruit and grapes, of flowers, and of deep waters.
The men and women in them are primeval, too, of Mediterranean
type, and garbed in the barbaric colors in which Southern folk
express the warmth of their natures.

Free and vivid as is their color, the breadth of primeval liberty
is not less seen in the splendid spaces of Brangwyn's pictures. The
forest vistas are illimitable; the air has the freedom of the Golden
Age; the skies stretch out and up to heaven.

Each set of two pictures represents one of the elements. The
first of the EARTH pictures in the northwest corner of the corri-
dor is a harvest of orchard fruits, products of earth. Tall cypresses
on the right enhance the vast space of sky over the orchard, the
best sky in all the eight paintings. The colors are those of the rich
fruits, the autumn flowers, and the garish costumes of Brangwyn's
peasantry. The companion picture represents a vintage, with
great purple grapes hanging among the bronzing leaves on a trellis,
and yellow pumpkins and flowers underfoot. The color is in these,
and in the same Southern costumes seen in the first picture.

The first of the AIR pictures is as easy to read as the second is
difficult. (P. 74.) In it a huge windmill stands on a height against
rain-laden clouds and a glowing rainbow. The slope is covered
with heavy-headed grain, and stained with vivid flowers, all bend-
ing before the swift currents of air. Laborers, men and women,
hurry homeward before the wind, from their task of winnowing
grain. Boys flying their kites complete the symbolism.

In the companion picture a group of archers are loosing their
arrows between the boles of tall, straight hardwoods on the brink
of a deep valley. Great white birds are winging outward through
the tops of the trees. The distance in the sky beyond is wonderful.
The color is of the gorgeous autumn leaves of hardwoods and of
rich flowers.

THE TOWER OF THE AGES, Louis Christian Mullgardt, architect, carries the story
of life told by the Court of the Ages up from the lowest sea forms through the
several eras of human history to triumphant Intelligence, crowned as Modern
Civilization. In the foreground, is the FOUNTAIN OF EARTH, by Robert Aitken.

( P. 70 )

BRANGWYN'S GLORIOUS MURALS 71

In one of the WATER pictures fishermen are drawing a net
from a lake suggested by a fringe of purple, white and yellow iris.
The men seem to stand on an island or a peninsula, for behind
them, beyond tall trees, is a deep indigo lake. Great pregnant
clouds float in the sky, and the picture glows with autumn colors.

In the other, men and women come forward with water jars to
a source suggested by tall white water birds and flowers growing
thick among the sedges. There are the same clouds, big with the
promise of rain, and the same profusion of vivid hues.

PRIMITIVE FIRE is suggested in the next pair by a thick-clus-
tered group of peasants with hands outstretched where a thin col-
umn of smoke rises straight. Autumn skies and foliage tell of chill
in the air. The colors burn in dying leaves, in the sky, in fruit and
grapes. A man is bringing a burden of fagots. Men of bovine anat-
omy crouch before the fire, their backs arched, their cheeks bulg-
ing, as they blow it into flame. These folk are all primitive, candid
in their animalism, Samsons in limb and muscle. Brangwyn's mas-
tery of anatomy is notable, and he builds his men with every flexor
showing, like a machine.

Pottery burners working around a furnace dimly suggested con-
vey the idea of INDUSTRIAL FIRE in the last of the pictures.
There is the same motif of cold in the sky and the fruits, intensi-
fied by the somber leafage of fir and pine.

In striking contrast with the light and ethereal quality of the
allegorical murals in the arches of the Court of the Universe, these
paintings are rich to the point of opulence. There is an enormous
depth in them. The figures are full-rounded. The fruits, flowers
and grain hang heavily on their steams. The trees bear themselves
solidly. The colors, laid on with strong and heavy strokes, fairly
flame in the picture.

Public auction is the fate said to be destined by the Exposition
company for these wonderful pictures. It is not to be blamed for
this. It is a business corporation, and these paintings are assets
on which it may be necessary to realize. But if the company finds
itself financially able, it should see to it that the paintings remain
in San Francisco as the property of the city. Like the great organ
in Festival Hall, which the Exposition has promised to install in
the Civic Auditorium when the fair ends, these splendid pictures
should be hung in the Auditorium as a gift to the city.

If the Exposition is not able to give them, an opportunity is pre-
sented for men of wealth to do art a great service in San Francisco.
Our cities, unlike those of Europe and of South America, are not
accustomed to buy works of art. Private generosity, then, must
supply the deficiency.

72 THE JEWEL CITY

In the northern extension of the court, beyond the tower, where
the Spanish decoration is carried almost to the bayward facade of
the palace group stands a massive female figure, Modern Time Lis-
tening to the Story of the Ages. Beyond it are four standards of
the Sun, like two at the southern end of the pool in the main court,
brilliant at night.

There remains but the central fountain, in the main court, sym-
bolizing the Earth, done by Robert Aitken. (P. 73.) Taken by itself,
this is a notable work, but it is not in keeping with the romantic
spirit of the Court of Ages. Its figures are magnificently virile, but
wholly realistic. Only at night, when, through clouds of rising
steam, the globe of the Earth glows red like a world in the making,
and from the forked tongues of the climbing serpents flames pour
out on the altars set around the pool, — only then does the fountain
become mystic. Even then it suggests cosmogony, mechanics,
physics, which are not romantic, except in so far as there may be
romance of the intellect. However, this is Aitken, not Mull-
gardt. The allegories of the group are detailed in the chapter on
Fountains.

'AIR," one of Frank Brangwyn's great mural paintings in the Court of
the Ages, suggests the element through the symbols of a windmill,
kites, storm-clouds, bending flowers and wheat, and the blown gar-
ments of the laborers hurrying home from their winnowing.

( P. 74 )

VIII.
THE COURT OF THE SEASONS

A charming bit of Italian Renaissance — Its quiet simplicity — The
alcove Fountains of the Seasons, by Furio Piccirilli — Milton
Bancroft's Murals — The forecourt, with Evelyn Longman's
Fountain of Ceres — Inscriptions.

N THE COURT OF THE SEASONS, the architect, Henry
Bacon of New York, has shown us a charming mood of
the Italian Renaissance. (Pp. 79, 80.) This court,
neither too splendid to be comfortable nor too ornate
to be restful, is full of a quiet intimacy. Nature's calm
is here. It is a little court, and friendly. Its walls are near and
sheltering. People like to sit here in the shelter of the close
thickets around the still pool in the center. I notice, too, that
persons hastening across the grounds come this way, and that
they unconsciously slacken pace as they walk through the court.
This is the only one of the three central courts in which every-
thing is in harmony. There is nothing obtrusive about it. The
effect is that of a perfect whole, simple, complete. The round pool,
smooth, level with the ground, unadorned, gives its note. The
colors are warm, the massive pillars softly smooth. The trees
press close to the walls, the shrubbery is dense. Birds make
happy sounds among the branches. Water falls from the foun-
tains in the alcoves, not with a roar, but with something more than
a woodland murmur. These fountains touch one of the purest
notes in nature. In cool, high, bare-walled alcoves the water falls
in sheets from terrace to terrace, at last into a dark pool below.
The sound is steady, gently reinforced by echo from the clean
walls behind, and pervasive. It is a very perfect imitation of the
sound of mountain waters.

Nothing in this court takes effort. The pictures and the sculp-
ture of the alcoves and the half-dome tell their own story. Here
is no elusive mysticism, no obscure symbolism to be dug out with
the help of guidebooks, like a hard lesson. The treasures of the
Seasons are on the surface, glowing in the face of all.

The SEASONS are sheltered in the four alcoves, distinguished
from each other only by the fountain groups of Furio Piccirilli
and the murals by H. Milton Bancroft. Neither pictures nor
statues need much explanation. The first alcove to the left of the
half-dome is that of SPRING. In the sculptured group of the
fountain, flowers bloom and love awakens. It is a fresh and grace-
ful composition. The murals are on the faces of the corridor

76 THE JEWEL CITY

arches. No one can mistake their meaning. Springtime shows her
first blossoms, and the happy shepherd pipes a seasonal air to his
flock, now battening on new grass. In the companion picture,
Seedtime, are symbols of the spring planting.

Next comes SUMMER, the time of Fruition. (P. 94.) Above
the fountain the mother gives the new-born child to its happy
father, and the servant brings the first fruits of the harvest. This
is less likable than the other groups. The posture of the mother
is not a happy one. The two murals picture Summer and Fruition.
Bancroft has taken athletic games as the symbol of the season.
Summer is crowning the victor in aquatic sports. Conventional
symbols of fruits and flowers represent Fruition.

In the group of AUTUMN, Providence is the central figure,
directing the Harvest. She is bringing in the juice of the grape.
The season is significantly represented in the full modeling of
the figures and the maturity of the adults. The mural of Autumn,
in the rich colors of the dying year, suggests by its symbols of
wine and music, the harvest festival. Opposite, is pictured the
Harvest, with the garnered crops.

Last of all is WINTER, with the bare desolation of the wintry
world in the melancholy fountain group. Then Nature rests in
the season of conception, while a man sows, his companion having
prepared the ground. In his mural of Winter, Bancroft pictures
the snowy days, the fuel piled against the cold, the chase of the
deer, the spinning in the long evenings. The companion piece
represents the festival side of the season, when men have time to
play. The Seasons are complete.

On the walls of the half-dome are two formal paintings by
Bancroft, conventional but charming in their allegory. These are
Bancroft's best murals. In the first, Time crowns Art, while her
handmaids, Painting, Pottery, Weaving, Glass-making, Metal-work-
ing and Jewel-making, stand in attendance. In the other, Man is
taught the laws of Love, Life, and Death, Earth, Fire, and Water.

On the summit of the half-dome is a group representing the
Harvest, and before it, on two splendid columns, are Rain, a
woman bearing the cup of the waters, and Sunshine, another with
a palm branch. All three are by Albert Jaegers. At the other
extremity of the court each of the two pylons is surmounted by a
bull, wreathed in garlands, and led by man and maiden to the
sacrifice. These groups, each called the Feast of the Sacrifice, are
also by Albert Jaegers. (P. 79.) The spandrels on the arches and
the female figures on the cornices are by his brother, August
Jaegers.

The abundance of the Seasons is symbolized in the fruit-bearing

A GODDESS PROPERLY CLOTHED! 77

figures that form the pilasters of the cornices of the arches, and
by the fat ears of corn depending from the Ionic capitals of the
columns. These types of fruitfulness have a further justification
in the neighborhood of the Palaces of Agriculture and Food
Products, which border the court on the north.

The eastern and western arches are exquisite in their simple
proportion, and the delicate charm of the fresco of their vaulted
passages. The quality of this interior decoration is enhanced by
the beauty of the staff work, which throughout this court is the
most successful found in the Exposition. Here this plaster is soft,
rich and warm, and looks more real and permanent than elsewhere.

I prefer to consider the northern approach between the two
palaces as not a part of this court. The pleasant intimacy of the
court would have been enhanced if it had been cut off from this
approach by an arch. Half way down the forecourt is the formal
fountain of Ceres by Evelyn Beatrice Longman, which must cheer
the hearts of those who would have all art draped.

INSCRIPTIONS IN COURT OF SEASONS

(a) On arch at east side:

SO FORTH ISSEW'D THE SEASONS OF
THE YE ARE — FIRST LUSTY SPRING ALL
DIGHT IN LEAVES AND FLOWRES.
THEN CAME THE JOLLY SOMMER BEING DIGHT
IN A THIN SILKEN CASSOCK COLOURED GREENE.
THEN CAME THE AUTUMNE ALL IN YELLOW CLAD.
LASTLY CAME WINTER CLOATHED ALL IN PRIZE
CHATTERING HIS TEETH FOR COLD THAT DID HIM CHILL.

— Spenser.

(b) On arch at west side:

FOR LASTING HAPPINESS WE TURN
OUR EYES TO ONE ALONE
AND SHE SURROUNDS YOU NOW.
GREAT NATURE REFUGE OF THE
WEARY HEART AND ONLY BALM TO
BREASTS THAT HAVE BEEN BRUISED.
SHE HATH COOL HANDS FOR EVERY
FEVERED BROW AND GENTLEST
SILENCE FOR THE TROUBLED SOUL.

—Sterling.

IX.

THE COURTS OF FLOWERS AND PALMS

The Court of Flowers typically Italian — Its delightful garden and
fountain, "Beauty and the Beast," by Edgar Walter — Borglum's
fine group, "The Pioneer" — The Court of Palms is Grecian in
feeling — "The End of the Trail" by Eraser, a chapter in Amer-
ican history — Murals in the doorways — Arthur Mathews'
"Triumph of Culture."

EGESSED in the south front of the palace group, and
leading back to the Court of the Seasons and the Court
of the Ages, are two perfect smaller courts, each
admirably living up to its name— the COURT OF
FLOWERS and the COURT OF PALMS. (See pp. 85,
88, 93.) Both courts were designed by George W. Kelham. Each
is a pleasant and colorful bay of sunshine facing southward be-
tween two graceful towers. One is bright with level fields of
flowers, the other cool with greensward and palms set about a
sunken garden. Both are calm, peaceful spots to rest and dream in
the sun. Both are of the South. Here summer first unfolds her
robes, and here she longest tarries.

Though at first sight these courts are much alike, they differ in
feeling and effect. The Court of Flowers is Italian, the Court of
Palms Grecian, though Grecian with an exuberance scarcely Athe-
nian. Perhaps there is something Sicilian in the warmth of its
decoration. When it is bright and warm, the Court of Palms is
most Greek in feeling; less so on duller days.

But the COURT OF FLOWERS is Italian in all moods. With its
shady balcony above the colonnade, it might be in Verona or Man-
tua. It is a graceful court, formal, yet curiously informal. Its
paired Corinthian columns, its conventional lions by the porches
and its flower girls around the balcony, its lamp standards and the
sculptured fountain, go with formal gardens. The garden here is
itself formal in its planting, and yet so simple, so natural, that it
banishes all ceremony.

This garden is one of the best things in the truly wonderful
floral show at the Exposition. The flowers are massed as we
always dream of seeing them in the fields, — a dream never quite so
well realized before. The areas of the court in the Exposition's
opening weeks were solid fields of daffodils, thick as growing
wheat, with here and there a blood-red poppy, set to accent the
yellow gold of the mass. Other flowers have now replaced these
in an equal blaze of color. Here, too, are free, wild clumps of trees

ARCH IN THE COURT OF THE SEASONS. Stately simplicity of architecture
and masses of foliage give this court a charm of its own, unsurpassed by
its larger and more ornate neighbors.

( P. 80 )

AMERICAN HISTORY IN SCULPTURE 81

and shrubs, close set, with straggling outposts among the flowers,
as natural as those bordering grain fields in California valleys.

It is a summery court, lacking but one thing to make it ideally
perfect. It ought to have crickets and cicadas in it, to rasp away as
the warm afternoons turn into evening, and tree hylas to make
throaty music in the still, rich-lighted night.

The statuary goes well with the court. There is a pretty, sum-
mery grace about the flower girls designed by Calder for the niches
above the colonnade, and in the figures of Edgar Walter's central
fountain. Here on the fountain are BEAUTY AND THE BEAST,
Beauty clad in a summer hat and nothing else, the Beast clothed
in ugliness. (P. 100.) Never mind the story. This is Beauty,
and Beauty needs no story. Four airy pipers, suggestive at least
of the song of the cicada on long, hot afternoons, support the
fountain figure. Around the basin of the pool is carved in low
relief a cylindrical frieze of tiger, lion and bear, and, wonder of
wonders, Hanuman, the Monkey King of Hindoo mythology, lead-
ing the bear with one hand and prodding the lion with the other.

Before the court THE PIONEER sits his horse, a thin, sinewy,
nervous figure; old, too, — as old as that frontier which has at last
moved round the world. (See p. 87.) The statue, which is by
Solon Borglum, is immensely expressive of that hard, efficient
type of frontiersmen who, scarcely civilized, yet found civiliza-
tion always dogging their footsteps as they moved through the
wilderness and crossed the deserts. He is, indeed, the forerunner
of civilization, sent forward to break ground for new states.
This group is offset against that other fine historical sculpture,
THE END OF THE TRAIL, placed before the Court of Palms.
As representatives of the conquering and the conquered race, the
two must be studied together.

The elusive Grecian feeling of the COURT OF PALMS comes
in large part from the simple Ionic columns, and the lines of the
gabled arches. Properly, this court is in the Italian Renaissance,
but it is less Italian than the Court of Flowers. Like that court,
it is warm and sunny, full of color and gladness. It has the same
harmonious perfection, but it is more formal. Its sunken garden
is bordered with a conventional balustrade and grass slopes, with
marble seats by the paths. There is no fountain, only a long pool
in the sunken area, and a separate raised basin at the inner end
with gently splashing jets, giving out a cool and peaceful sound.
Fat decorated urns, instead of lions, guard the entrances to the
buildings. Italian cypresses border the court, with formal clipped
acacias in boxes between the pillars of the colonnade.

The Fountain of Beauty and the Beast, which stands in the

82 THE JEWEL CITY

Court of Flowers, was designed to be set here, while Mrs. Harry
Payne Whitney's Fountain of the Arabian Nights was to have
found a place in the Court of Flowers. These two courts were
planned as the homes of the fairy tales, one of Oriental, the other
of Occidental lore. Many beautiful things were designed for them.
The attic of the Court of Flowers, which was intended as the
place of Oriental Fairy Tales, was to have carried sculptured
stories from the Arabian Nights. But none of these things was
done. Mrs. Whitney's fountain was modeled but never made,
unfortunately, for the modeled figures are charming.

The only sculpture in the Court of Palms, aside from the "End
of the Trail," which stands before it, is in the decoration of the
entablature and the arches. Horned and winged female caryatids
mark off the entablature into garlanded panels. All the three
arches under the gables are enriched with figures of women and
of children supporting a shield, conventional groups, but graceful.

"THE END OF THE TRAIL," by James Earle Fraser, of New
York, is a great chapter in American history, told in noble sculp-
ture. The dying Indian, astride his exhausted cayuse, expresses
the hopelessness of the Red Man's battle against civilization.
(P. 86.) There is more significance and less convention, perhaps,
in this than in any other piece of Exposition sculpture. It has
the universal touch. It makes an irresistible appeal.

To make up for the lack of statuary in this court there are
mural paintings over the entrances leading into the Palaces of
Education and Liberal Arts on either hand, and into the Court of
the Seasons. Of these three lunettes two add little to the beauty
of the court except for the vivid touch of color which they give it.
One, over the door of the Palace of Education, is entitled "FRUITS
AND FLOWERS," by Childe Hassam. It is a triumph of straight
line applied to the female form. Over the door of the Palace of
Liberal Arts is "THE PURSUIT OF PLEASURE," ascribed to
Charles Holloway. The figures are gracefully drawn, the coloring
flowery. There is better quality in Arthur F. Mathews' "TRIUMPH
OF CULTURE," over the entrance to the Court of Seasons. In color
and force this comes nearer to the splendid standard set by Frank
Brangwyn than anything else in the Exposition's mural decoration.
Perhaps that is too faint praise, for this is a real picture. In it a
victorious golden spirit, crowding aside brute force, allows the
Humanities, representatives of Culture, to triumph as the guard-
ians of Youth. The figures are human, there is strength and ease
in them, and the color is a deep-toned song.

THE FOUNTAINS

A characteristic and fitting feature of the Exposition — Fountain
of Energy — The Mermaids — Gertrude Vanderbilt Whitney's
"El Dorado" and Mrs. Burroughs' "Youth" — Rising and Setting
Sun — Piccirilli's "Seasons" — Aitken's masterpiece, the Foun-
tain of Earth — "Beauty and the Beast."

HE fountain, the spring, the well, is a characteristic
note in the life and art of all lands in the Sun. The
Arabians, the Moors, the Spaniards, the Italians and
the Greeks loved fountains. It is less so in the North,
in the regions of much rain, where water flows natur-
ally everywhere. But nothing is so welcome in a thirsty land as
a fountain. Hence there is appropriateness in the many fountains
of this Exposition, which reflects in its plan the walled cities of
the Orient of the Mediterranean, where fountains play in the
courts of palaces, in public squares and niches in the walls; and
pools lie by the mosques, and in the gardens.

Here are many kinds of fountains, from huge masses of sculp-
ture spouting forth many powerful streams in the sun to terraced
basins where water murmurs in quiet alcoves, and simple jets
tinkling in summery courts. Of those fountains that have espe-
cially been dignified and adorned by sculpture there are fourteen,
some single, some in pairs, with one quartet in the Court of
Seasons. Their sequence from the chief gate of the Exposition
follows in a way the symbolic significance of all the sculpture.

The FOUNTAIN OF ENERGY, by A. Stirling Calder, in the
center of the South Gardens before the Tower of Jewels, as a
figure of aquatic triumph, celebrates the completion of the Panama
Canal. (See p. 47.) Resting on a pedestal in the center of the pool,
and supported by a circle of figures representing the dance of the
oceans, is the Earth, surmounted by a figure of Energy, the force
that dug the canal. Fame and Victory blow their bugles from his
shoulders. When all the jets are playing, Energy, horsed, rides
through the waters on either hand.

The band around the Earth, decorated with sea horses and
fanciful aquatic figures, represents the seaway now completed
around the globe. On one side a bull-man, a rather weak-chinned
minotaur, stands for the strength of Western civilization; on the
other, a cat-woman represents the civilization of the Eastern hemi-
sphere. Surrounding the central figure in the pool are the four
Oceans, — the Atlantic with corraled tresses and sea horses in her

84 THE JEWEL CITY

hand, riding a helmeted fish; the Northern Ocean as a Triton
mounted on a rearing walrus; the Southern Ocean as a negro back-
ing a sea elephant and playing with an octopus; and the Pacific
as a female on a creature that might be a sea lion, but is not.
Dolphins backed by nymphs of the sea serve a double purpose as
decoration and as spouts for the waters.

The central figure of this fountain has been severely criticised,
and with reason. The design is a beautiful one, but unfortunately
not well adapted to reproduction on so large a scale. Symbolism
is here carried to an extreme that spoils the simplicity which alone
makes a really great work imposing. Calder had a fine idea of a
figure of joyous triumph to stand as the opening symbol of the
festival side of the Exposition. He deserves credit for the real
beauty of his design. It is a pity that a thing so charming as a
model should not have worked out well in heroic proportions.

As a fountain, though, it is splendid. The pool and its spouting
figures are glorious. The play of the waters when all the jets are
spouting is not only magnificent but unique. This veil of water
shooting out and falling in a half sphere about the globe has not
been seen before. There is a real expression of energy in the
force of the leaping streams.

MERMAID FOUNTAINS, by Arthur Putnam.— At the far end of
each of the lovely pools in the South Gardens is an ornamental
fountain of ample basins topped by a graceful mermaid, behind
whose back a fish spouts up a single jet of water. These are
formal fountains, but exceedingly harmonious. Without trying to
be pretentious, they achieve an effect of simple beauty. (P. 99.)

"EL DORADO" and "YOUTH."— Within the colonnaded wings
of the Tower of Jewels are two fountains which carry out the
symbolism of the days of the Spanish explorers in their themes,
the Aztec myth of El Dorado, and the fabled Fountain of Youth,
sought by Ponce de Leon. In their way, these are the loveliest
fountains on the Exposition grounds, though they differ so from
all the rest that comparison is not easy. The naive conception of
the Fountain of Youth and the realistic strength of that of El
Dorado lead visitors back to them again and again. They are
hidden fountains, as their prototypes were hidden. Each termi-
nates one of the two open colonnades with a central niche compo-
sition flanked on either hand by a sculptured frieze. Each is the
work of a woman sculptor, and both, though very different, are
far from the conventional or the commonplace.

The FOUNTAIN OF EL DORADO, by Gertrude Vanderbilt
Whitney, tells the story of an Aztec myth of a god whose brilliance
is so dazzling that the sun is his veil, and who lives in a darkened

COURT OF FLOWERS, DETAIL. This is a summery Italian court set in the
south front of the main palace group. It and its companion, the Court of
Palms, were designed by George W. Kelham, architect.

( P. 85 )

"THE END OF THE TRAIL," by James Earle Fraser, a noble piece of historical
sculpture, illustrating the highest aims of contemporary American art. It
stands before the Court of Palms. The story here told of the vanishing
Indian race must be read in connection with that of "The Pioneer."

( P. 86 )

THE PIONEER," Solon Borglum, sculptor. This triumphant American fron-
tiersman marching indomitably to the winning of the West presents a telling
contrast to his doomed opponent, the Red Man, depicted in "The End of the
Trail." The group is placed at the entrance to the Court of Flowers.

( P. 87 )

THE LURE OF EL DORADO 89

temple lest his light destroy humanity. (P. 54.) At the center of
the recessed wall are doors of the deity's shaded abode, a guardian
on either side. In the friezes naked humanity moves ever onward,
striving to reach the home of the god. The figures, in full relief,
are splendid in their grace and vigor. Here are men and women
whom nothing can hold back; here are those who must be pushed
along, some who linger for love, others for worldly goods; but all,
the strong and the faint, the eager and the tardy, move forward
irresistibly to their destiny.

In Wait's "The Stories of El Dorado," the following account
is given of this aboriginal myth of an expected Indian Messiah, —
El Hombre Dorado, the Gilded Man, as the Spaniards interpreted
the native words, — which played a fateful part in the history of
the primitive races of Spanish America:

"No words incorporated into the English language have been
fraught with such stupendous consequences as El Dorado. When
the padres attempted to tell the story of the Christ, the natives
exclaimed 'El Dorado' — the golden. The ignorant sailors and
adventurers seized upon the literal meaning, instead of the
spiritual one. The time, being that of Don Quixote and of the
Inquisition, accounts for the childish credulity on one side and
the unparalleled ferocity on the other. The search for El Dorado,
whether it was believed to be a fabulous country of gold, or an
inaccessible mountain, or a lake, or a city, or a priest who
anointed himself with a fragrant oil and sprinkled his body with
fine gold dust, must always remain one of the blackest pages in
the history of the white race. The great heart of humanity will
ever ache with sympathy for the melancholy and pitiful end of
the natives, who at the time of the conquest of Mexico were con-
fidently expecting the return of the mild and gentle Quetzalcoatl,—
the Mexican variant of this universal myth. * * * The Golden
Hearted came from an island in the East, and to this he returned,
in the legend. In all variants, he gave a distinct promise of return.
This accounts for the awe inspired by Europeans in the minds
of the natives, causing them everywhere to fall easy victims of
the unscrupulous adventurers swarming into their country. Fate
never played a more cruel prank than to have one race of men
speak and act constantly from the standpoint of tradition, while
the other thought solely of material gain."

Interesting, too, is Mrs. Edith Woodman Burroughs' conception
of the FOUNTAIN OF YOUTH. (P. 53.) The beautiful central
figure is a girl child standing without self-consciousness by bloom-
ing primroses. Modeled faintly on the pedestal are the parents,
from whose upturned faces and uplifted hands the primroses seem
to spring. In the friezes, wistful old people are borne onward to
Destiny in boats manned by joyous chubby children, unconscious
of their priceless gift of youth to which their elders look back
with so much longing.

90 THE JEWEL CITY

FOUNTAINS IN THE COURT OF THE UNIVERSE.— Passing
through the Tower of Jewels into the great court where themes
become universal under the circle of stars above the surrounding
colonnade, we come to the FOUNTAINS OF THE RISING AND
THE SETTING SUN, by A. A. Weinmann, one at either focus of
the elliptical sunken garden. In the East, the Sun, in the strength
of the morning, his wings spread for flight, is springing upward
from the top of the tall column rising out of the fountain. Walk to-
ward him from the west and you get the effect of his rising. (P. 69.)

At his feet a garland of children is woven in the form of a
ring at the top of the column. At the base of the shaft, just above
the basin, is a cylindrical frieze in low relief, symbolizing Day
Triumphant. Weinmann interprets this as the Spirit of Time,
hour-glass in hand, followed by the Spirit of Light with flaming
torch, while Energy trumpets the approaching day. Interwoven
with these figures is an allegory of Truth with mirror and sword,
escaping from the sinister power of Darkness, Falsehood shrink-
ing from its image in the mirror of Truth, and Vice struggling
in the coils of a serpent. It is not easy to read either series, or
to disentangle one from the other.

In the West the Setting Sun is just alighting, with folding
wings. The luminary, which in the morning was male, to repre-
sent the essentially masculine spirit, the upwardness and onward-
ness of opening day, has now become female in its quality of
brooding evening. In fact, this same figure, which the sculptor
shows in the Palace of Fine Arts, is there called by him "Descend-
ing Night."

The frieze at the base of the shaft of the Setting Sun is as
difficult to interpret as the other. On it are shown the Gentle
Powers of Night. Dusk folds in her cloak Love, Labor and Peace.
Next are Illusions borne on the wings of Sleep, then the Evening
Mists, followed by the Star Dance, and lastly, Luna, the goddess of
the Silver Crescent. Luna may be recognized, for the Silver Cres-
cent is in her hand; and, with the sequence I have just given, you
may recognize the others.

The figures supporting the basins and the creatures in the pools
of each fountain are merely decorative. The play of water in
these fountains is joyous and delightful. The purpose of a foun-
tain is well and adequately fulfilled.

There now remain the seven fountains of the lesser courts, con-
nected more or less intimately in theme with their immediate
surroundings.

IN THE COURT OF SEASONS.— Four are in the Court of Sea-
sons, where SPRING, SUMMER, AUTUMN and WINTER, by Furio

FOUNTAIN OF EARTH INTERPRETED 91

Piccirilli, have each its own alcove in the wall and its own play of
water. These are pleasant fountains, simple and quiet. There is
some feeling of lonely mountain cliffs in the plain walls behind
them, hung with streamers of the maidenhair vine.

In the first alcove stands SPRING with her flowers; on one side
the man, in whom love awakens, on the other fresh young Flora,
bringing the first offerings of the year. Next comes the alcove of
SUMMER, the time of fruition. The mother brings her babe to
its father, the laborer bears the first fruits of the harvest. (P. 94.)

AUTUMN follows, the time of harvest. The central figure of
the fountain group is Providence. The fruits of the year are
brought in, and the vintage is in progress. Last of all comes
WINTER, the melancholy time when the trees are bare and the
bark splits with the frost. The central figure is naked Nature
resting in the period of conception. On one side is bowed an
old man, after preparing the ground for the seed; on the other
is a strong man sowing. This is perhaps the best of the four
fountain groups. It expresses admirably the bleakness and sad-
ness of the season. There is a wintry chill about it, the gloom of
a dark December day. Of the others, Spring is most likable, with
its conception of the seasonal impulse to love; and Autumn, for
the strength of its figures and the beauty of their modeling.

In the forecourt, appropriately placed between the Palaces of
Agriculture and Food Products, stands the FOUNTAIN OF CERES.
(P. 79.) It is an odd fountain, with the water gushing from the
mouths of satyrs set barely above the level of the ground, as
though for the watering of small animals. Ceres stands above,
with a wreath of cereals and a scepter of corn. The frieze pictures
the dance of joyous nature.

FOUNTAIN OF EARTH.— In Mullgardt's Court of Ages is the
FOUNTAIN OF EARTH, by Robert Aitken, the most magnificently
virile of all the Exposition fountains, conceived of a powerful
imagination and executed in strength and beauty. (Pp. 70, 73.)

The sculpture of the fountain must be described in three parts.
Aitken's own interpretation is condensed in the following account.
On the wall of the parapet at the foot of the pool, sixty feet from
the central structure, is a colossal figure symbolizing Helios, in
his arms the great globe of the setting sun after it has thrown off
the nebulous mass that subsequently became the earth. The whole
expresses primitive man's idea of the splashing of the sun into the
water as it sets.

On the side of the central structure toward the figure of Helios,
and leading up to the Earth, are two groups, each of five crouch-
ing figures, and divided by a conventional plane. At the outer

92 THE JEWEL CITY

extremity, Destiny, in the shape of two enormous hands and arms,
gives life with one and takes it with the other. The five figures
on the left side represent the Dawn of Life, those on the right, the
Fullness and End of Existence. The first group begins with a
woman asleep, just from the hand of Destiny; while the succeed-
ing figures symbolize the Awakening, the Joy of Being, finally,
the Kiss of Life, with the human pair offering their children, rep-
resenting the beginnings of fecundity.

On the east side, a figure of Greed looks back on the earth,
the mass in his hands suggesting the futility of worldly posses-
sions. Next is a group of Faith, wherein a patriarch holds forth
to the woman the hope of immortality, with a scarab, ancient
symbol of renewed life. Then comes a man of Sorrow, as the
woman with him falls into her last Slumber. These are about to
be drawn into oblivion by the relentless hand of Destiny. The
gap, between these groups and the main structure of the fountain
typifies the unknown time between the beginning of things and
the dawn of history.

Each of the four panels in pierced relief surrounding the globe
of the Earth tells a single story, with the exception of the first,
which tells three. Traveling to the left around the globe, we
begin with the figure of Vanity, mirror in hand, in the center of
the first panel, as the symbol of worldly motive. Here, too, are
primitive man and woman, bearing their burdens, symbolized by
their progeny, into the unknown future, ready to meet whatever
be the call of earth. The woman suggests the overwhelming in-
stincts of motherhood.

Passing into the next panel, we see their children, now grown,
finding themselves, with Natural Selection. The man in the center,
splendid in physical and intellectual perfection, attracts the
women on either hand, while two other men, deserted for this
finer type, display anger and despair. One tries to hold the woman
by force, the other, unable to comprehend, turns hopelessly away.

The succeeding panel symbolizes the Survival of the Fittest.
Here physical strength begins to play its part, and the war spirit
awakens, with woman as its cause. The chiefs struggle for su-
premacy, while their women try in vain to separate them.

The last panel portrays the Lesson of Life. The elders offer
to hotheaded youth the benefit of their experience. The beautiful
woman in the center draws to her side the splendid warrior,
whose mother on his left gives her affectionate advice. On the
right of the panel, a father restrains a wayward and jealous youth
who has been rejected by the female.

Passing again into the first panel we find a representation of

PORTAL BETWEEN THE COURTS OF PALMS AND SEASONS, framing a glimpse
of the former court and its colonnade, with one of its Italian towers.

( P. 93 )

FOUNTAIN OF SUMMER, in the Court of Seasons, Furio Piccirilli, sculptor. The
group above the fountain represents the bringing of the first fruits— the mother
offering her babe to its father, the laborer tendering the yield of the fields.

( P. 94 )

"BEAUTY AND THE BEAST" 95

Lust, — a man struggling to embrace a woman, who shrinks from
his caresses. Thus the circle is complete; these last two figures,
though in the first panel, are separated from those first described
by decorations on the upper and lower borders.

Framing the panels, while also indicating the separation in
time of their stories, stand archaic figures of Hermes, such as
the ancients employed to mark distances on the roads. Their
outstretched hands hold up the beginnings of life in the form of
rude primeval beasts, from whose mouths issue the jets of the
fountain.

At night this fountain glows deep red, from lamps concealed
within the panels, while clouds of rosy steam rising around the
globe create an illusion of a world in the making.

The FOUNTAIN OF BEAUTY AND THE BEAST was originally
intended for the Court of Palms, which was conceived as the
Court of Occidental Fairy Tales, just as the Court of Flowers was
to have been that of Oriental Fairy Tales. Mrs. Whitney's foun-
tain of the Arabian Nights, a creation of whimsical beauty, was
to have stood in the latter court. It was modeled, but was never
enlarged; and its place was taken by BEAUTY AND THE BEAST,
the work of Edgar Walter. (P. 100.)

This is another harmonious fountain, rightly conceived, so
that its sculpture does not overbalance its use in the play of water,
and admirably in tune with the flowery grace of the court. Beauty,
pouring water from a Greek amphora, sits lightly upon the ugly
Beast. Why she wears a smart Paris hat no one has discovered.
Four cheery pipers, lively as crickets in the sun, support the
upper bowl. Around the lower basin is a frieze in low relief,
figuring Hanuman, the King of Monkeys, leading a bear with one
hand and prodding a lion with the other. All this is part of the
original fairy-tale significance of the court.

The fountains are of the glories of the Exposition. There is
always charm in the movement of the waters, rest in their music.
The appeal is elemental, and therefore, universal. Artificial jets
can never equal the play of water in Nature, but when adorned
with harmonious sculpture, as here, they become that significant
and satisfying imitation which is Art.

XI.
THE PALACE OF MACHINERY

A vast rectangular hall, saved by Ward's successful architecture
from being a huge barn — Modeled on the Roman Baths of
Caracalla — Patigian's finely decorative sculptures, symbolizing
the mechanical forces and labor — Beauty of the interior — A
Cathedral of Dynamics.

MIGHTY hall is the PALACE OF MACHINERY.
(See pp. 105, 106.) Beachey flew in it. The Olympic
might rest in its center aisle with clear space at both
bow and stern, and room in the side aisles for two
ocean greyhounds as large as the Mauretania. Vast-
ness is the note of the architecture which Clarence Ward has
employed to give body to this enormous space. It is an archi-
tecture of straight lines in all the outer structure, lending itself
admirably to the expression of enormous proportions. In general
ground plans the palace is a simple rectangular hall. Think,
then, of the task the architect had before him to avoid making
the palace a huge barn. His work succeeded, as any great work
succeeds, because he used simple means.

First of all, a Roman model was well chosen for so vast a
building. The Greeks built no large roofed structures. Their great
assemblages were held in open-air theaters and stadia. The Greek
masterpiece, the incomparable Parthenon at Athens, was consid-
erably smaller than Oregon's timbered imitation at the Exposition.
On the other hand, the solid Roman style lends itself to bulk.
The models followed in the Machinery Palace were the Roman
Baths, particularly the Baths of Caracalla. They have been used
once before as a model in this country, in the building of the
Pennsylvania Railway station in New York. There, too, travertine
was first successfully imitated by Paul Deniville. Looking at the
Palace of Machinery, indeed, it is not difficult to imagine it as
the noble metropolitan terminal of a great railway system. It
would hold many long passenger trains, and an army of travelers.
The distinctive feature of the perspective is the triple gable
at the ends of the palace and over the great main entrance. By
thus breaking up the long roof lines, as well as by lowering the
flanks of the building to flat-roofed wings, a barn-like effect was
avoided. In the triple gables, also, the three central aisles which
distinguish the interior show in the outer structure. Under the
gables the huge clerestory windows above the entrances relieve

A NOBLE VESTIBULE 97

the great expanse of the end walls. Similar windows open up the
walls above the flat-topped wings. In the main entrance, the
gables are deepened to form a huge triple vestibule where the row
of columns is repeated. The long side walls are relieved by pairs
of decorated columns flanking the minor entrances.

Thus, by entirely simple devices, the long lines and vast ex-
panses of wall are deprived of monotony. The architect has given
majesty to the palace, not merely a majesty of hugeness, but of
just proportions and dignified simplicity. In the general archi-
tectural scheme of the Exposition it forms one end of the main
group of palaces, at the other end of which is set the Palace of
Fine Arts. Machinery Hall, with its severe massiveness and solidity,
is a balance to the poetry and spirituality of the Fine Arts.

The main entrance is on the west side, looking down the
avenue between the Palaces of Mines and Varied Industries. Per-
haps it is better, though, to take a first view of the sculptural
decoration at the entrance at either the north or the south end,
where almost everything is shown that appears in the more com-
plicated main vestibule.

The three clerestory windows make three arches with four
piers. In front of each pier stands a great Sienna column crowned
with one of four symbolic figures, each, in the strength of the
male, emblematic of force. First on the left is "Electricity," grasp-
ing the thunderbolt, and standing with one foot on the earth, sig-
nifying that electricity is not only in the earth but around it. The
man with the lever that starts an engine represents "Steam Power."
"Imagination," the power which conceives the thing "Invention"
bodies forth, stands with eyes closed; its force comes from within.
Wings on his head suggest the speed of thought. At his feet is
the Eagle of Inspiration. "Invention" bears in his hand a winged
figure, — Thought, about to rise in concrete form.

The eagle appears as a symbol of the United States, on the
entablature carried across the opening below the arch on two
Corinthian columns in each embrasure. The lower third of each
of these shafts is decorated with a cylindrical relief representing
the genii of machinery, flanked by human toilers and types of
machines. The genii are blind, as the forces developed by ma-
chines are blind. There are only two of these cylindrical friezes,
but they are repeated many times on the columns at either end
and at the main entrance, and on the pairs of columns that flank
the minor openings in the western wall.

Over the main entrance the gable is extended to enclose a
majestic triple vestibule, backed by the same effect that appears
at the palace ends, but with the entablature and its supporting

98 THE JEWEL CITY

columns repeated across the outer arches. (P. 111.) With the
exception of the spandrels on the transverse arches, the sculptural
decoration here is the same as that described for the end entrances,
though more often repeated. The spandrels represent the appli-
cation of power to machines. All this decoration is the work of
Haig Patigian, of San Francisco.

Before the main entrance stands the only example, in the Ex-
position sculpture, of the work of the dean of American sculptors,
Daniel Chester French. This is his noteworthy group, the GENIUS
OF CREATION. (P. 147.) Other statues by French will be found
among the exhibits of the Fine Arts Palace. The Genius of Crea-
tion was placed here at the last moment. It had been intended
for the Court of the Universe, while Douglas Tilden's group of
"Modern Civilization" was to have stood before the Palace of
Machinery. When this was not completed, the Exposition wisely
decided that the great court already had enough statuary, and
ordered French's group erected in its place.

According to French himself, this group might well have been
called "The Angel of Generation." The winged figure, neither
male nor female, but angelic, is veiled, suggesting the creative im-
pulse as a blind command from unknown sources. The arms are
raised in a gesture of creative command. It has wings, said
French, because both art and the conception demanded these
spiritual symbols. The man and woman against the rock whereon
the angel sits are emblems of the highest types created. The man
looks upward and outward with one hand clenched, ready to
grapple with life. The woman reaches out for sympathy and sup-
port; her fingers find this in the hand of the man at the back of
the rock. Man and woman are encircled by the snake, the earliest
symbol of eternity and reproduction, a figure appearing, curiously
enough, in every religion, and with much the same significance.

Without ignoring the majesty of the exterior, glowing with
color and adorned with statuary, it may be said that the real
nobility of this great structure appears in the splendid timber
work of the interior. Here, where every bone and rib of the huge
hall stands bare as the builders left it, is a note of true grandeur.
The long rows of great timbered columns, the lofty arches that
spring from them, the almost endless vista of truss and girder,
tell of vastness that cannot be expressed by the finished archi-
tecture outside. The finest character of the palace is within.
From the outside it is a great and well-proportioned hall. Within
it becomes a vast cathedral, dedicated to the mighty spirit of
Dynamics.

XII.

THE PALACE OF FINE ARTS AND :JJ$- EXHIBIT,- - .
WITH THE AWARDS

A memorable demonstration of the value of landscape to archi-
tecture— Simplicity the foundation of Maybeck's achievement
— The Colonnade and Rotunda — Altar, Friezes and Murals —
Equestrian statue of Lafayette — Night views — The Palace
should be made permanent in Golden Gate Park — The Fine
Arts Exhibit — Its contemporaneous character and great
general merit — American art well shown — The foreign collec-
tions— Sweden's characteristically national art — Exhibits of
France, Italy, Holland, Argentina, and other countries — Japan
and China exhibit ancient as well as modern art — The Annex
—Work of the Futurists — Notable sculptures in the Colonnade
— Grand Prizes, Medals of Honor and Gold Medals Awarded.

F EVERYTHING else in the beautiful architecture of
the Exposition were forgotten, the memory of the PAL-
ACE OF FINE ARTS would remain. It should be a source
of pride to every Californian that this incomparable
building is the work of a Californian, and a source of
deep satisfaction to the architect himself that it so completely
points the lesson which he intended it to convey. For the Palace of
Fine Arts is a sermon in itself. In it old Roman models have been
used to elaborate a California text. Its structure and setting are the
demonstration of a theorem, — the finished word of the preachment
of a lifetime. The Exposition gave the preacher his opportunity.
Bernard Maybeck, the Berkeley architect, had long been telling
California that architecture here, to be beautiful, needed only to
be an effective background for landscape. His theory is that as
trees and plants grow so easily and so quickly here, Californians
are wasting their finest source of beauty if they do not combine
landscape with building.

When Maybeck was called upon to design a palace of fine arts
at the Exposition, one fact enabled him to exemplify his theory in
the finest way. The old Harbor View bog was found to have a
bottom impervious enough to hold water, and the trees of the
demolished resort were still standing. When the mud was scooped
out, a lake was left. That gave not only growing trees, in addition
to the resources of the Exposition's forestry, but also a real sheet
of water, for the landscape. (See p. 112.)

Maybeck surprised me by saying that there is nothing specially
remarkable about the Palace itself. "What is it the people like?"

102 THE JEWEL CITY

he asked, a*id himself replied, "It is the water and the trees.'*
^ Wh^a I reminded him of the beauty of the colonnade seen from
points in- 9ie .enclosed passageway, where no water is in view, he
answered: "The public was bribed to like that. Leaving off the
roof between the colonnade and the gallery was a direct bribe. A
few other simple devices give the effect the people like. One of
these is the absence of windows in the walls, a device well known
to the old Italians. Others are the water, the trees, and the flower-
covered pergolas on the roof."

Maybeck's modesty is genuine, but he deserves more credit
than he gives himself. I quote him because his point is worth
emphasizing. The highest beauty can be attained by simple means.
If all our architects could see that, we should have less straining
for effect, less overdoneness, and more harmony and significance
in our buildings. The people can and do appreciate this kind of
beauty. It was surely inspiration that made it possible for Maybeck
to produce this masterpiece.

Sweeping in a great arc around the western shore of the lagoon, »
the Palace, in the architect's view, is merely a background for the
water, the trees and the plants on the terraced walls and pergolas.
Certainly it is a beautiful setting to a beautiful scene. So perfectly
are the Palace and its foreground fitted to each other that the
structure looks as though it might have stood there for twenty
centuries, a well-preserved Roman villa, while generations of trees
grew, and decayed, and were reproduced around its base.

The great detached colonnade, with its central rotunda, is the
climax of the entire structure. It is backed up and given solidity
/ by the walls of the gallery behind it, 1,100 feet long. These walls,
unbroken save for the entrances, are relieved and beautified by
shrubbery set on a terrace halfway between the ground and the
eaves. (P. 113.) At the extremities of the double colonnade, and
spaced regularly along it, are groups of four columns, each
crowned with a great box designed for flowers and vines. Unfor-
tunately, the architect's plan to place growing plants in these
receptacles was vetoed because of the cost. The weeping women
at the corners, by Ulric Ellerhusen, expressive of the melancholy
felt on leaving a great art collection, were intended to be only half
seen through drooping vines. On the water side of the rotunda, a
novel effect of inclusion is obtained by semi-circular walls of
growing mesembryanthemum.

, Around the entablature of the noble octagonal rotunda are
repeated Bruno Louis Zimm's three panels, representing "The
Struggle for the Beautiful." (P. 114.) In one, Art, as a beautiful
woman, stands in the center, while on either side the idealists

AN ALTAR OF INSPIRATION 103

struggle to hold back the materialists, here conceived as centaurs,
who would trample upon Art. In another, Bellerophon is about to
mount Pegasus. Orpheus walks ahead with his lyre, followed by a
lion, representing the brutish beasts over whom music hath power.
Back in the procession come Genius, holding aloft the lamp, and
another figure bearing in one hand the pine cones of immortality,
in the other a carved statue which she holds forward as a lesson
in art to the youth before her. In the third panel appears Apollo,
god of all the arts, in the midst of a procession of his devotees
bearing garlands. Between the panels are repeated alternately
male and female figures, symbolizing those who battle for the arts.
• On an altar before the rotunda, overlooking the lagoon, kneels
Robert Stackpole's figure of Venus, representing the Beautiful, to
whom all art is servant. The panel in front of the altar is by
Bruno Louis Zimm, and pictures Genius, the source of Inspiration.
Unfortunately, this fine altar has been made inaccessible; it can be
seen only from across the lagoon. (P. 137.) The friezes decorating
the huge circular flower receptacles set around the base of the
rotunda and at intervals in the colonnade are by Ellerhusen. Eight
times repeated on the lofty columns within the rotunda is "The
Priestess of Culture," a conventional but pleasing sculpture by
Herbert Adams.

.Above, in the dome, Robert Reid's eight murals, splendid in
color, are too far away to be seen well as pictures. Two separate
series are alternated, one symbolizing the Progress of Art, the
other depicting the Four Golds of California. The panel in the
east, nearest the altar, is "The Birth of European Art.'* The sacred
fire burns on an altar, beside which stands the guardian holding
out the torch of inspiration to an earthly messenger who leans
from his chariot to receive it. On the right is the Orange panel,
representing one of the California golds.

"Inspiration in All Art" comes next. The veil of darkness,
drawn back, reveals the arts : Music, Painting, Poetry, and Sculp-
ture. A winged figure bears the torch of inspiration. The second
of the California golds, the Wheat panel, follows, and then "The
Birth of Oriental Art." The allegory here is the ancient Ming
legend of the forces of earth trying to wrest inspiration from the
powers of air. A Chinese warrior mounted on a dragon struggles
with an eagle.

Gold, the yellow metal, is the subject of the next panel, followed
by "Ideals in Art." In this appear concrete symbols of the chief
motives of art, the classic nude of the Greeks, the Madonna and
Child of Religion, Joan of Arc for Heroism, Youth and Material
Beauty represented by a young woman, and Absolute Nature by

104 THE JEWEL CITY

the peacock. A mystic figure in the background holds the cruse
wherewith to feed the sacred flame. A winged figure bears laurels
for the living, while the shadowy one in the center holds the palm
for the dead. Last of all comes the Poppy panel, representing the
fourth gold of California.

t "The entire scheme — the conception and birth of Art, its com-
mitment to the earth, its progress and acceptance by the human
intellect, — is expressed in the four major panels. They are lighted
from below by a brilliant flood of golden light, the sunshine of
California, and reach up into the intense blue of the California
skies." This, as well as much of the interpretation of the eight
pictures, is drawn from Reid's own account.

Within the rotunda has been installed Paul Wayland Bartlett's
spirited equestrian statue of Lafayette. This is a replica of the
original work, which was presented to the French Government by
the school children of the United States, and stands in the gardens
of the Louvre. Other notable statues here are Karl Bitter'js, Thomas
Jefferson, John J. Boyle's Commodore Barry, Herb'ert Adams's
Bryant, and Robert T. McKenzie's charming figure of "The Young
Franklin." Outside the rotunda, facing the main entrance to the
gallery, is "The Pioneer Mother," Charles Grafly, sculptor. Over
the entrance is Leo Lentelli's "Aspiration."

Beautiful as is the Palace of Fine Arts by day, it is even more
lovely at night. (P. 137.) Either by moonlight or under the gentle
flood of illumination that rests softly upon it when the heavens
are dark, it is wonderful. There is so much of perfection in the
building, and it is so well placed, that it needs no special condi-
tions to be at its best. Nor is any particular viewpoint necessary.
Stand where you will around this structure, or on the opposite
margin of the lagoon, and each position gives you a different
grouping of columns and dome and wall, a different setting of
trees and water. The form of the Palace is responsible for this.
Roughly speaking, a rectangular structure presents but four views.
But the great arc of the Fine Arts, with its detached colonnade
following the same curve on either side of the rotunda, is not so
restricted. Every new point of view discloses new beauty. The
breadth of the lagoon before it guarantees a proper perspective.
It is impossible not to see it aright.

An excellent test of the quality of all such temporary structures
is the satisfaction with which one thinks of them as permanent
buildings. No other of the palaces would wear so well in its
beauty if it were set up for the joy of future generations. It would
be a glorious thing for San Francisco if the Fine Arts Palace could
be made permanent in Golden Gate Park. To duplicate it in last-

EXHIBITS IN PALACE OF FINE ARTS 107

ing materials would cost much, but it would be worth while. San
Francisco owes it to itself and its love for art to see that this
greatest of Western works of art does not pass away. As it stands
on the Exposition grounds, it is more enduring than any of the
other palaces. To induce the loan of its priceless contents, the
building had to be fireproof. But the construction is not perma-
nent. The splendid colonnade, a thing of exquisite and manifold
beauty, is only plaster, and can last but a season or two. Even
were the building solid enough to endure, its location is impossible
after the Exposition closes.

It should be duplicated in permanent form. No doubt a proper
site, with a setting of water and trees, can best be found in Golden
Gate Park. The steel frame and roof of the main gallery could
easily be transferred there and set up again. While it would cost
too much to duplicate in real marble the pillars of the colonnade
and dome, yet these can be reproduced in artificial stone as suc-
cessfully as they have here been imitated in plaster. In the
Pennsylvania Railroad station in New York, travertine has been
counterfeited so well that no one can tell where the real ends and
the imitation begins.

Every other considerable city in the civilized world has its art
gallery. San Francisco has already the full-sized model of surely
the most beautiful one in the world. Made permanent in the Park,
this Palace of Art would not only honor San Francisco, but would
be "a joy forever" to all America.

THE FINE ARTS EXHIBIT.*— The Palace of Fine Arts contains
what the International Jury declares the best and most important
collection of modern art that has yet been assembled in America.
The war in Europe had a two-fold effect on this exhibition. While
it prevented some countries, like Russia and Germany, from send-
ing their paintings and sculptures, it led others, such as France
and Italy, to send more than they otherwise would have sent. The
number the Exposition might have was limited only by its funds
available for insurance. So many were the works of art sent over on
the Vega and the Jason that an Annex was required to house them.

It must be remembered that this art exhibit, like the other
exhibits of the Exposition, is contemporaneous. It represents,
with exceptions, the work of the last decade. Most of the excep-
tions are in the rooms of the Historical Section, the Abbey, Sar-
gent, Whistler, Keith, and other loan collections, and the great
Chinese exhibit of ancient paintings on silk. In general, the paint-
ings and sculptures made famous by time are not in the Fine Arts
Palace. Its rooms are mainly filled with the latest work of artists

*For plan of rooms and national sections in the Palace of Fine Arts, see
map on page 8.

108 THE JEWEL CITY

of the day, exhibited under the Exposition's rule which limits
competition in all departments to current production. This ex-
plains, for instance, why the French Government has placed its
Meissoniers and Detailles, with Rodin's bronzes, in the French
Pavilion. A Michelangelo, works of Benvenuto Cellini, and many
old paintings and statues are in the beautiful Italian Pavilion.
Other paintings of value are in the Belgian section of the French
Pavilion, and in the Danish Pavilion.

This limitation of the Fine Arts exhibit has made room for a
great representation of the men of today. The Palace contains a
multitude of splendid pictures. While of course, as in all such
collections, there is some inferior work, the most pertinent criti-
cism is that there are too many really notable things, and the scope
of the collection is too broad, to be seen with due appreciation in
a limited time. There is so liberal a showing of different schools,
styles and lands, that one is liable at first to be bewildered. But
the exhibit is most popular. The great number of visitors con-
stantly thronging the galleries is significant of the value the people
put upon art. Excellent as the collection is as a school for artists,
it was made for popular enjoyment and education. The best result
to be looked for is its stimulation and culture of the public taste.
The people are already in love with it, and what they love they
make their own.

The exhibits are arranged in fifteen sections, consisting of
national, sectional, or personal, collections of paintings, besides
many important displays of miniatures, etchings, prints, drawings,
and tapestries. The art of the sculptor is abundantly illustrated
in grouped statuary, single pieces, panels in low or high relief,
and wood carvings. Passing the heroic emblems of history or
allegory in marble, bronze or plaster, nothing is more beautiful or
appealing than the hundreds of small bronzes shown. In brief,
the Fine Arts exhibit embraces all the classifications of modern
art, save the "arts and crafts" exhibits, which are scattered among
the several exhibit palaces.

First in importance to a citizen of this country is the art of
the United States. Possibly it may also be of first importance to
foreign visitors. For the phrase "American art" no longer raises
a doubt. It is at last recognized that America has something of its
own to offer the world, — a style developed within the last two
decades. The prime movement of the times presenting boldness,
brilliance and a laxity of detail in portrayal, the art of America,
as shown in this exhibition, embodies these characteristics without
emphasizing them. Keeping in mind the fact that the Palace con-
tains little American art earlier than 1905, American artists are

VALUE OF AMERICAN ART 109

showing marked individualities, even in their acceptance of
popular precepts. The virile men of the day love luminosity; it
dominates all else, and marks their canvases with light; they
restrain the too bold stroke of the radical Impressionist, but out-
line with firmness, so that details are more easily imagined by the
observer, even when an expected delineation is absent. Even the
older men, though still under the influence of earlier tradition,
show a distinctiveness of style that sets them well apart from their
English, French or German contemporaries.

The International Section, in Room 108 and in the Annex, is
peculiarly interesting in that it makes easy a comparison of the
characteristic fingerprints of each country represented. There
is ample opportunity here for a discriminating and profitable
study. Unfortunately, because of the war, the gallery contains no
special rooms for the art of England and Germany. Both countries
are represented only by loan collections. Of German art there are
forty well chosen paintings.

France, Italy, Holland, Sweden, Portugal, Japan, China and
several of the South American countries have installed represen-
tative collections in the Palace; while the Annex, made necessary
by the unexpected number of pictures from Europe, contains a
large exhibit of Hungarian art, a Norwegian display, filling seven
rooms, a large British exhibit, and a small group of pictures by
Spanish painters, showing that the influence of Velasquez is still
powerful in Spanish art. The Norwegian display is one of the
largest foreign sections, quite as characteristic as the Swedish,
and certain to arouse discussion because of its extreme mod-
ernism. The ultra-radical art of Edvard Munch, who is called the
greatest of Norwegian painters, and to whom a special room is
assigned, is sure to be a bone of contention among the critics.
The work of Harald Sohlberg (medal of honor) and Halfdan Strom
(gold medal), differing widely from Munch's, though hardly less
modern in style, will also attract much attention. The omission of
Munch from the honor list is really a tribute to his eminence. An
artist who has won the Grand Prix at Rome and awards in every
other European capital was deemed outside of competition here.

Axel Gallen-Kallela, the celebrated Finnish painter, winner of
the Exposition's medal of honor, fills another room in the Annex.
This room, covering adequately Gallen's progress through twenty-
five years, is the only one in the Exposition to illustrate the devel-
opment of a great painter from his student days. The collection
runs from his earliest academic work, photographic in its care for
detail, to his present mastery of Impressionism, wherein by a few
strokes he expresses all the essentials.

110 THE JEWEL CITY

The Italian Futurists are well shown in the Annex, and for the
first time in this country. The Futurist pictures hitherto seen in
America have been French imitations of the Italian originators of
the mode. A sample Futurist title, "Architectural Construction of
a Woman on the Beach," may or may not indicate what these
pictures reveal. The Annex, too, has a splendid exhibit of the
etchings of Frank Brangwyn, the great Englishman, who is no
less renowned as an etcher than as a painter, and who has won
the Exposition's medal of honor in the International Section.

The arrangement of the rooms in the Fine Arts Gallery becomes
simple enough when the key is supplied. The United States sec-
tion is in the center, and, with the historical rooms, occupies,
roughly, half the space, flanked by the foreign rooms at either end
of the building. Four rooms of the United States section are sep-
arated from the rest and form a narrow strip across the extreme
north end of the gallery. The prints, drawings, miniatures, and
medals are installed in rooms forming a strip along the west wall
of the building.

The United States section is opened by a central hall opposite
the main entrance, and by a corridor extending on either side
through to the foreign sections. The central hall is chiefly devoted
to sculpture, including Karl Bitter's strong and characteristic
group, "The Signing of the Louisiana Purchase Treaty," Daniel
Chester French's "Alice Freeman Palmer Memorial," both winners
of the medal of honor, Gertrude Vanderbilt Whitney's fine central
fountain, and other important work. The walls are hung with
ancient tapestries of great interest, and paintings, mostly decora-
tive, though Robert Vonnoh's "Poppies" and Ben Ali Haggin's
"Little White Dancer" are admirable. Vonnoh won a gold medal.

HISTORICAL SECTION.— South of the United States section, a
block of ten rooms, with Room 54 at the southwest angle of the
central hall, is devoted to painters who either have influenced
American art or represent its earlier stages. Room 91, on the east
side of the block, contains old Dutch, Flemish, French, and Italian
pictures, none very interesting, though Teniers, Watteau and Tin-
toretto are represented. Rooms 92, 62, and 61, constituting the
tier next to the Italian section, show chiefly examples of the
French painters, including those of the Barbizon school, who have
influenced later American painting. Along with other names less
known, Room 92 displays canvases by Daubigny, Courbet, Charles
Le Brun, Meissonier, Tissot, Monticelli and Rousseau. It has two
Corots, one a delight. Room 62 is even more important. It offers
a Millet, far from typical; a capital Schreyer, two portraits by the
German Von Lenbach, a small but interesting sample of Alma-

VESTIBULE OF THE PALACE OF MACHINERY. The sculpture spandrels over
the arches anil the friezes at the base of the columns are by Haig Patigian,
and represent the application of power to machinery.

( P. HI )

DETAIL OF ROTUNDA, Palace of Fine Arts. The panels of the frieze, by Bruno
Louis Zimm, depict the struggle for the ideal in art. Within the Rotunda is
Paul. Wayland Bartlett's equestrian statue of Lafayette, the original of which
was given to France by the school children of America.

( P. 114 )

OLD MASTERS AND MODERN 115

Tadema's finished style, and the sensational "Consolatrix Afflic-
torum" by Dagnan-Bouveret. Better still, in Jules Breton's "The
Vintage" and Troyon's "Landscape and Cattle" it has two of the
noblest paintings to be seen in the entire Palace, — pictures that
show these great masters at their best.

Room 61 is mainly devoted to the early Impressionists, with
seven canvases by their leader, Claude Monet, and other land-
scapes by Renoir, Pissaro and Sisley, and a brilliant interior (No.
2343) by Gaston La Touche. The pictures by Monet illustrate his
progress from the hard conventionalism of his early academic
style (seen in 2636) to such delightful embodiments of light and
atmosphere as 2633 and 2637. The gallery contains no more tri-
umphant piece of Impressionism than the saucy "Lady in Pink"
by the Russian, Nicholas Fechin. The story set afloat that it is the
work of an untaught Russian peasant simply testifies to ignorance
of this master. Every splotch of color here breathes technique.
As if by way of contrast, the opposite wall shows one of Puvis de
Chavannes' classical murals, even more anaemic than usual.

The large room No. 63 shows a Venetian sunset by Turner, two
portraits by Goya, another attributed to Velasquez, a splendid
Raffaelesque altar-piece by Tiepolo, the like of which rarely leaves
Italy, and canvases by Guido Reni, Ribera, and Van Dyke. Almost
all the remaining space is taken up by excellent examples of the
British art that influenced the early American painters, with some
of prior date. Here are canvases by Lely, Kneller, Hogarth,
Reynolds, Gainsborough, Hoppner, Beechey, Allan Ramsay, Law-
rence, Raeburn, and Romney. The last four are especially well
represented. In this room, too, is the bronze replica of Wein-
mann's figure, "The Setting Sun," here called "Descending Night."

AMERICAN "OLD MASTERS."— Following logically the English
portrait painters, the American historical section begins with
Rooms 60 and 59. The former is mainly filled with the work,
much of it admirable, of the early American portrait painters.
Here are Gilbert Stuart's lovable "President Monroe," Benjamin
West's "Magdalen," and portraits by Peale, Copley, West, Sully
and others. In Room 59, the antiquarian interest predominates,
with a few fine portraits by Inman, Harding, King, and S. F. B.
Morse, who, besides inventor, was an artist. But nothing here
surpasses No. 1719 by Charles Loring Elliott, a canvas that is irre-
sistible in its vivid setting forth of personality. Room 58 brings
the story of American painting well past the middle of the Nine-
teenth century, with typical examples of Bierstadt, Eastman John-
son and other fading names. Room 57 contains a number of
Edwin Abbey's finely illustrative paintings, the most popular of

116 THE JEWEL CITY

which is his "Penance of Eleanor," and a collection of his splen-
did drawings; also important canvases by Theodore Robinson and
John La Farge. Room 64 covers a wide sweep, from Church's
archaic "Niagara Falls" down to Stephen Parrish, Eakins, Martin,
the Morans, Hovenden, and Remington. Edward Moran's "Brush
Burning" (2649) is capital. Room 54, the last of the American
historical rooms, is perhaps the most important, finely showing
Inness, Wyant, Winslow Homer, Hunt, and other American masters.

MODERN AMERICAN PAINTING.— We come now to the great
and splendid representation of present-day painters. In noting
these, the artists achieving grand prizes, medals of honor or gold
medals will often be mentioned; but a full list of such honors will
be found at the end of this chapter. It should be remembered that
no member of a jury, and no man who received the honor of a
separate room, was eligible for award. In general, it may be said,
the Exposition puts forward the work of artists who have
"arrived" since the opening of the century. In accordance with
this helpful policy, older painters who had won many honors at
previous exhibitions were passed over for the encouragement of
younger men. It should also be noted that awards were not made
for particular pictures, but upon each artist's exhibit as a whole.

Rooms 55, 56, 65 and 85 show contemporary Americans, — the
last two with great credit. No. 65 is a large room of canvases by
American women painters. One who has not kept abreast of
woman's work in art in this country has a surprise awaiting him
in the the high quality shown here. Two pictures by Ellen Rand
(2919, 2918), Mary Curtis Richardson's captivating "Young
Mother" and her "Professor Paget" (3000, 3002), and Alice Stod-
dard's inimitably girlish group, "The Sisters" (3329), will reward
very careful study of their sincerity and strength of treatment.
Especially brilliant are the works of Cecilia Beaux and M. Jean
McLane, — the first winning the Exposition's medal of honor, the
latter rather theatrical in their gayety of color. Here also is a
canvas (2743) by Violet Oakley, another honor medallist.

Room 85 is enriched by the canvases of Charles Walter Stetson,
Horatio Walker, Charles W. Hawthorne, Douglas Volk (gold
medal), and George de Forest Brush. Volk's three charming pic-
tures deserve to be better hung. The Stetson group illustrates the
Impressionist method and result as well as anything in the Palace.
Take his "Smugglers" or his "Summer Joy" (3311, 3317), and note
how a few heavy and apparently meaningless dabs of color may
be laid side by side on canvas in such a way that, when seen from
a distance, they blend, until the picture not only outlines figures
and foliage, but also glows with atmosphere, life and movement.

AMERICAN LEADERS IN PAINTING 117

These rooms complete the south half of the American section,
with the exception of the very interesting, though not fully ade-
quate, Whistler Room, 28; the Print Rooms, 29 to 34, in the tier
along the west wall, and five more one-man rooms along the east
wall. These five, in their order from the main entrance are:
No. 87, devoted to the old-masterlike works of Frank Duveneck,
who, more perhaps than any other American, shows the great
manner of Velasquez, Rembrandt and Franz Hals, and to whom
the jury has recommended that a special medal be given for his
influence on American art; No. 88 filled with the admirable
Impressionist landscapes of E. W. Redfield; 89 and 93, given up to
the widely contrasted work of Edmund C. Tarbell and John H.
Twachtman, each in his own fashion a master and enjoying a
well-earned popularity, Twachtman's pictures in particular com-
manding almost as high prices as those of the men in Room 54;
and No. 90, just off the Tarbell room, containing a small loan
collection which very incompletely represents William Keith.
Five other individual rooms are north of the main entrance:
No. 79, portraits and still life by William M. Chase; 78, Childe
Hassam's radically Impressionist work; 77, Gari Melchers* pictures
of Dutch types and scenes; 76, the charming western pictures of
Arthur F. Mathews and Francis McComas, both Calif ornians; and
75, the John S. Sargent room, containing among other works his
famous early portrait of Mme. Gautrin, his "John Hay," and the
sympathetic portrait of Henry James which was mutilated by the
British suffragettes. All these one-man rooms exhibit character-
istic work of the men thus distinguished, though the younger men
are the more completely represented. The Whistler, Keith, Chase
and Sargent rooms, which may be classed with the historical block,
show few of the best-known masterpieces of these artists.

Room 80, cut out of the northeast corner of the central hall, a
gallery of well restrained pictures, contains the interesting work
in light and color of William McG. Paxton, member of the jury;
portraits and figures by Leslie P. Thompson (silver medal), Philip
L. Hale's warm-toned portraits, the delicate but brilliant land-
scapes of Willard L. Metcalf (medal of honor), and those by Philip
Little (silver medal). The portraits are in the older academic
style; the landscapes, modern. Rooms 67 and 68 are distinguished
by some notable landscapes and marines. No. 67 shows Emil
Carlsen's fresh "Open Sea," his single picture here, but the winner
of a medal of honor, and Albert Laessle's small animal sculptures
(gold medal), and capital examples of Paul Dougherty, J. F. Carl-
son, Leonard Ochtman and Ben Foster. No. 68 holds two fine
snowy landscapes by W. Elmer Schofield (medal of honor), two

118 THE JEWEL CITY

engaging studies in brown by Daniel Garber, brilliant figures by
J. C. Johansen, and California coast views by William Ritschel.
The last three artists are gold medallists.

Room 69 is made noteworthy by works of three of the nine
American winners of the medal of honor, — Lawton Parker's
voluptuous "Paresse" and two portraits, and single paintings by
John W. Alexander and Richard E. Miller (1035, 2606). Alex-
ander's airy "Phyllis" is his only picture in the Palace. Miller
shows one more canvas, a colorful "Nude" (2607) in Room 47.
Room 70 is entirely devoted to portrait painters, among them
Julian Story, H. G. Herkomer, Robert Vonnoh, and Irving C.
Wiles (3668), the latter two both winners of the gold medal.
No. 74 shows admirable small landscapes, among them the "Group
of White Birches" by Will S. Robinson (silver medal), Charles C.
Allen's "Mountain and Cloud," and land and water views by
Charles J. Taylor, especially No. 3404. Room 73 shows good land-
scapes by Ernest Lawson (gold medal), Paul King (silver medal),
and the two Deals. GifFord Real's work won a gold medal. Room
72, a gallery in the academic style, contains a variety of portraits,
figure paintings and landscapes, including W. R. Leigh's spirited
"Stampede," and the more conventional work of Walter MacEwen.
No. 71 is another varied room. In addition to some landscapes,
the visitor will be struck by the small but exquisite exhibit in
gold, enamel, and precious stones of Louis C. Tiffany.

The western tier of this section, Rooms 43-51, contains work of
all grades of merit. No. 43 is conglomerate. Perham Nahl's well
drawn "Despair" (2690) is perhaps best worth mention. In No.
44 Putthuff's two brown western scenes and Clarkson's portrait of
E. G. Keith are interesting. No. 45 is better. Walter Griffin's
opulent landscapes (medal of honor) are well worth studying.
Here also are two canvases by Robert Reid, one almost Japanese
in its effect; the restrained landscapes of William Sartain, and
Charles Morris Young's sharply contrasting "Red Mill' and "Gray
Mill," with his characteristic wintry landscapes. Reid and Young
won the gold medal. In No. 46 are a half-dozen delicately handled
landscapes by Frank V. Du Mond, a member of the jury. In
No. 47 E. L. Blumenschein's warm Indian pictures and A. L.
GrolPs desert scenes won silver medals. But the best thing here
is Richard E. Miller's "Nude," already mentioned.

On the east wall of Room 48 hangs "Sleep," the best of the
eight canvases shown by Frederic Carl Frieseke, distinguished
above all other American painters in the palace by the Exposi-
tion's grand prize. Seven other pictures by Frieseke, interesting
by reason of comparison with this masterpiece, hang in Room 117.

COLONNADE OF THE FINE ARTS PALACE. Across the lagoon is the Roman half-
dome— the DOME OF PLENTY— of the Palace of Food Products.

( P. 119 )

"THE MOTHER OF THE DEAD," C. L. Pietro of New York, sculptor. This
bronze group, set near the north end of the Fine Arts Colonnade, is one of
the strongest popular sculptures among the exhibits, as it is also the most
contemporaneous. It is the protest of Art against the great war, which is
leaving to Europe only the aged and the infantile.

( P. 120 )

EXTREMES IN IMPRESSIONISM 121

In Gallery 48 are also some good landscapes, — Robert Vonnoh's
"Bridge at Grez" and Cullen Yates' "November Snow." In No.
49, a better balanced room than most in this tier, three walls are
made noteworthy by J. Alden Weir's luminous and Impressionist
landscapes, and D. W. Tryon's more academic canvases. Weir
was the chairman of the jury for oil paintings. No. 50 is dom-
inated by Sergeant Kendall, in both painting and sculpture. In
the first he won the gold medal, in the second the silver medal.
Room 51 has been called the "Chamber of Horrors," because it
shows several of the extremists; but it has some masterpieces.
Staring things by John Sloan, William J. Glackens, Adolphe Borie,
and Arthur B. Carles are relieved by H. H. Breckinridge's highly
colored fruits and flowers, Gertrude Lampert's "Black and Green,"
Thomas Anshutz' two studies of women, and several of Robert
Henri's strong figure pieces.

In the extreme northern end of the gallery, beyond the foreign
sections, is a tier of four rooms, 117-120, ranging from the mediocre
to the admirable. In No. 117 are seven interesting canvases by
Frieseke, the grand-prize winner, already mentioned. These pic-
tures show the artist's scope. No. 1816 and others are strikingly
like Plinio Nomellini's No. 86 in the Italian section. No. 1811 is as
different from these as "Sleep" is from all the rest. In the same
room are Mora's "Vacation Time" (2645) and Tanner's "Christ at
the Home of Lazarus" (3370), both winners of the gold medal.
Room 118 holds the pictures of several gold-medal winners, the
"Promenade" (1185) by Max Bohm; the noble "Lake Louise" (1246)
by H. J. Breuer, whose pictures of the Canadian Rockies are also to
be found in Rooms 56 and 58; the tender "Spring" (1972) by W. D.
Hamilton, worthy of a better place; and H. L. Hoffman's clear-
lighted "A Mood of Spring" (2116), and his vivid "Savannah
Market" (2115).

Room 119 is filled with water-colors, drawings, engravings and
etchings. Room 120 holds George Bellows' Post-Impressionistic
canvases, Myron Barlow's well-drawn figures, W. D. Hamilton's
speaking likeness of Justice McKenna (1971), Charles H. Wood-
bury's "The Bark" (3692), and Waldo Murray's portrait of "Robert
Fowler" (366), wrongly catalogued with the International section.
All these painters won gold medals. This is perhaps the best room
in this tier.

In the tier on the western wall devoted to the minor forms of
art, Howard Pyle's illustrations occupy two small rooms, 41 and 42.
The first contains ink sketches, the second his works in charac-
teristic color. Room 40 is devoted to admirable miniatures and to
water colors. Here on the east wall are Jules Guerin's vividly

122 THE JEWEL CITY

colored Oriental scenes, which won the gold medal. The walls
of Room 39 are given up to a series of charming pastels by John
McClure Hamilton. No. 39 also contains cases of medals, as does
No. 38. Room 37 is devoted to miniatures, and 36 to drawings.

In the section known as the "Print Rooms," 29-34, along the
west wall, are hundreds of famous etchings. This branch of art,
old and respected through the examples offered by early masters
like Albrecht Diirer and Rembrandt, has still to be fully appre-
ciated. It has come to the public slowly, the layman who likes
and buys pictures more often holding aloof from the thing called
an etching. That there is now a closer acquaintance than before
is due in large measure to Joseph Pennell. Working through the
practical, he allied his art years ago with such subjects as bridge
and railroad building, and by giving the public an easier avenue
of approach, has attracted it to the beauty of this method of art.
The print rooms show dozens of PennelPs etchings, with those of
Whistler and many others. Whistler's etchings, lithographs, and
drawings are in No. 29, Pennell's in No. 31. Room 30 holds the
work of Henry Wolf, winner of the grand prize. D. A. Wehr-
schmidt, an honor medallist, is represented in Room 119. J. Andre
Smith, Herman A. Webster and Cadwallader Washburn are in
Room 32, Allen Lewis and Gustav Baumann (gold medals) are in
Room 34. Room 28 holds the loan collection of Whistler's works,
already mentioned, chiefly from the National Gallery, Washington.
Room 27 contains photographic reproductions of painting and
sculpture. Room 26 is devoted to original drawings for illus-
tration.

THE FOREIGN SECTIONS. — These are placed north and south
of the United States collections. In the extreme south end, JAPAN
occupies a large block of rooms, numbered from 1 to 10. With this
abundant floor and wall space at her disposal, that country left
nothing undone to make her art exhibit comprehensive and beau-
tiful. The display stands alone for completeness. Japan's art is as
old as her history; and now, with her advent among the modern
nations, she has added Occidental art to her more ancient forms.
The essayal, as shown here, is still beyond her, but the strides are
noteworthy. In the wonderful display of her own art, she shows
both the beauties of antiquity and the masterpieces of her present-
day artists. The paintings upon silk, landscape embroideries, por-
celains, ink drawings, metal work, and scrolls will occupy the
art lover many hours.

France adjoins Japan, filling a block of rooms from 12 to 18,
and Italy follows, in Rooms 21 to 25. The intervening rooms, Nos.
19 and 20, are assigned respectively to Uruguay and Cuba.

THE FUTURISTS 123

The French and Italian exhibits had to wait for the arrival of
the Jason. Now they are installed, and beautifully hung and set.
Though France is the home of the Post-Impressionists, and Italy
that of the Futurists, the flagrancy of neither of these schools is on
view here. Both countries show their best balanced art since 1905.
In the French exhibit, the mode of the day prevails, — color, lumin-
osity, richness of texture. All that differentiates the art of France
to-day from that of other countries is her own inimitable, delicate,
inherent taste and touch. The subject matters little; the French
perception and execution are there. Where other canvases offer —
say a beautiful glow — the French picture "vibrates." If other
works are finished, these have finesse. There is similar spirit in
the Italian galleries, with a variation due to national characteristics
rather than to difference of opinion or method. The Italian pic-
tures fully occupy the mind and eye; the French often fascinate by
something more than skill and color. Both countries have placed
their older art, and some of its best, in their official pavilions.

FRANCE. — In the French Section, Room 12 contains a diverse
collection of water color, drawing, engraving, and painting, among
the latter, Henry Grosjean's "The Bottoms" (365). Room 13, full
of strongly contrasting work, is distinguished by Maurice Denis'
daring decorative panels. Here also is Claude Monet's "Vetheuil"
(452), the same scene, though not the same picture, as his No. 2634
in Room 61. Comparison is interesting for the difference in touch,
though both were painted in the same year. Francois Flameng is
represented here by "Paris" (346), not so compelling as his
"Madame Letellier" (345), and "Fete Venetienne" (344), in Rooms
18 and 14. Room 14, containing a good many decorative canvases,
has also, besides Flameng's "Fete," two of the extreme Impres-
sionistic paintings of Henri Martin, "The Lovers" (432), and his
own dim "Self Portrait" (433). Two colorful Breton scenes (302)
by Darrieux, and (406) by Le Gout-Gerard stand out on the north
wall. Room 15 shows some charming pieces, — Lucien Simon's
strongly contrasting work in the spiritual "Communicants" (494)
and his barbaric "Gondola" (495); Domergue's "The Frog" (324),
Besnard's glowing "Gipsy" (255), and Lemordant's "The Wind"
(409). These last give a strong color to the room, relieved by
Leroux' calm "Lake" (416), and Maury's delicate young girls (440).
Room 16 is better balanced. Remembering "The Frog," Do-
mergue's versatility appears in the portrait of Gina Mabille, the
danseuse. A delicate bit of Impressionism in Le Sidanier's "The
Harbor: Landernau" (418). Two canvases by Menard are hung
here. His "Opal Sea" (445) is charming. Auburtin's decorative
panels hang on the north wall. One of the most notable works of

124 THE JEWEL CITY

P. Franc Lamy, his golden "Venice: Morning" (393), will be
found on the west wall.

Room 17 shows little of striking interest. Augustin Hanicotte,
one of the few French painters to adopt the strong colors and
lights of the Scandinavian artists, is represented by the gay "Win-
ter in the Low Country" (381) . Andre Dauchez' "Le Pouldu" (304)
is a fine brown lowland landscape. In spirit, though in richer
colors, Jean Veber's captivating "Little Princess" (515) reminds
one of John Bauer's Swedish fairy-tale pictures. Strength and
truthfulness characterize Jeanniot's fine group of Norman fisher-
folk (388). (See p. 125.)

Room 18 is better. Note Marie Cazin's "Diana Asleep" (289),
done in a single brown. Here, too, is Flameng's "Portrait of Ma-
dame Letellier" (345). A soft, delicate bit of landscape is Brouil-
let's "Among the Dunes" (272), which deserves better than to be
hung in a corner. One who has seen the Futurist pictures in the
Annex should not overlook here Albert Guillaume's "Le Boniment"
(370), a rich burlesque on Futurist art.

ITALY. — No other section in the Palace is so finely hung as the
Italian. As no attempt has been made to crowd the rooms, each
canvas is properly placed. Room 21 holds the most important
paintings honored by the jury. On the west wall is the work of
Ettore Tito, the winner of the grand prize, five canvases demon-
strating both his versatility and his mastery of color. On the north
and south walls are the medal-of-honor pictures of Onorato Car-
landi and Camillo Innocenti, the latter striking in their golden
tone. Coromaldi's rich harvest scenes (26, 27), and a Leonardo
Bazzaro (4) (both gold medallists), hang on the east wall. Not to
be overlooked, though passed by the jury, are Casciaro's warm
landscapes on the north wall and Ricci's "Butterflies" (96), which
help to make this collection one of splendid color.

Room 22 also glows with color. Ferraguti's "Portrait in
Red" (46) (gold medal) holds the place of honor on the west wall.
On the north wall is the glowing "Fiametta" (49) by Matilde Festa
Piacentini, wife of the architect of the Italian Pavilion, and beside
it the equally warm "Golden Rays" (47) by Ferretti. On the east
wall burns Traiano Chitarin's "Evening Fires" (31). Among the
sculpture is Dazzi's "Portrait of a Lady" (160) (gold medal).

Room 23 holds the greater portion of the sculpture, including
Amigoni's simple "Adolescence" (151), Brozzi's spirited "Animals"
(155), in relievo on bronze, Graziosi's "Susanna" (165), and
Pagliani's "On the Beach" (180) . All of these won gold medals, but
the really striking piece in the room is "Proximus Tuus" (162),
the weary peasant, by Achille D'Orsi. Of the few paintings nothing

IN THE ITALIAN SECTION 127

is very remarkable, though Bazzani's "Arch of Septimus Severus"
(3) is interesting for its workmanship.

Room 24 presents extremely varied styles from Morani's No. 80
to Domenico Irolli's heavily painted "Violin Player" (64), and
Enrico Lionne's gorgeous purple figures in the extreme of Impres-
sionism. One of Nomellini's effects in light and shade appears in
No. 86, on the east wall. Paolo Sala's "Along the Thames" (100)
deserves better place and notice. Irolli, Lionne and Nomellini
are gold medallists.

Room 25, without any remarkable canvases, is very pleasing as
an example of harmonious hanging. This is best illustrated by the
west wall where hang four pictures by the three Ciardis, Beppe,
Emma, and Guiseppe, and one, No. 6, by Bartolomeo Bezzi, the
group admirably centered by Beppe Ciardi's large "Venetian
Scene" (32). All three of the Ciardis won gold medals. In the
center of the north wall is a fine ruddy sunset (102) by Francesco
Sartorelli. The south wall is dominated by Z. V. Zanetti's richly
decorative "Tree" (116). Beside it, on the cut-off of the wall, is
Guiseppe Mentessi's gripping "Soul of the Stones" (75). Mentessi
won the gold medal with this picture, as Italo Brass did with his
"Bridge Across the Lagoon" (10). Sculpture in this room is rep-
resented by small bronzes and Ernesto Biondi's almost terrible "St.
Francis d'Assisi" (154).

URUGUAY. — The Uruguayan exhibit of painting and sculpture
is in one small room, No. 19, against the west wall, next to France.
The work has characteristics in common with that of the south of
Europe, and shows national feeling. Manuel Rose (52-57) was
awarded a gold medal.

CUBA. — The Cuban section in Room 20, adjoining Uruguay,
though small, is interesting. The jury thought well enough of Leo-
poldo Romanach's canvases (16-29) to give him the medal of honor.
M. Rodriguez Morey (13-15) won the gold medal.

CHINA, occupying four rooms, 94-97, adjoining the northern
end of the United States Section, though desirous of appearing
before the world as a modern republic, has wisely brought here
the most beautiful examples of her ancient art. Many of the pieces
go so far beyond the records of man that their authorship is lost
in darkness. The exquisitely beautiful ink paintings on silk, the
finest collection of these works in existence, represent the master
painters of all the dynasties of China. Their subjects deal with
tradition and religious precepts. Precious cloisonne in heroic
pieces has been used for the background of paintings. There are
picture-screens made of five or six attached panels of fine por-
celain inlaid with cloisonne, and many splendid carvings and por-

128 THE JEWEL CITY

celains. The medal of honor for water color went to Kiang Ying-
seng's "Snow Scene" (348) in Room 94. The water colors of Su
Chen-lien, Kao Ki-fong, and Miss Shin Ying-chin, and the exquisite
carvings in semi-precious stones of Teh Chang, all gold medal win-
ners, are in the same room.

THE PHILIPPINES, Room 98, by the west wall, have an exhibit
which shows that their march toward civilization includes well-
grounded ambitions of art. Mentality, feeling, spirit, all reveal
themselves in the canvases. Crudity is apparent, but it comes
more from an untutored hand than from failure to grasp the sig-
nificance of the subject. Many pictures are flamboyant, some are
melodramatic, nearly all are big subjects handled with great bold-
ness; what they lack in finish they make up in sincerity. Felix R.
Hidalgo's contributions (10-20) won him a gold medal.

SWEDEN. — The achievements of Sweden, Rooms 99-107, next
to China, have surprised everybody. That country has sent the
most distinctively national of all the European exhibits. Swedish
artists are stay-at-homes, and their pictures are filled with the
Scandinavian love of country. The scenes and portraits are all
Swedish, from Carl Larsson's intimate pictures of family life and
forest picnics (see p. 126), or Bruno Liljefors' great paintings of
the misty northern ocean, down to John Bauer's captivating little
illustrations of Swedish goblin tales. No one who has viewed the
snow scenes of Anshelm Schultzberg can ever forget the impres-
sion of cold and impenetrable depth. Swedish painters are heroic
in method, very lavish with their pigments, and generous in the
size of their canvases. Some of the pictures, in fact, like "The
Swans" (202) by Liljefors, are too large to be seen to the best
advantage in the small rooms where they hang. Liljefors won the
grand prize, and Gustav Fjaestad the medal of honor, for Swedish
painting; Larsson, the grand prize for water color. Anna Boberg,
Room 106, whose masculine paintings have always won her honor
hitherto, is without award. This famous painter is the wife of the
architect of the fine Swedish Pavilion. The jury offered her a sil-
ver medal, but Commissioner Schultzberg refused to accept it.

SPAIN is to have an excellent exhibit in the Annex building
behind the Palace. Thus far PORTUGAL alone represents the
Iberian painters. The collection fills three rooms, 109-111, between
Sweden and Holland. The Portuguese artists infuse the spirit of
revelry into much of their work. Indeed, it sometimes approaches
the bacchanalian. The work is of the extreme modern school as
to color, although, technically, there is much drawing in and
respect for definite form. Most striking, perhaps, is the splendid
representation in many of the pictures of the intense sunlight that

PORTUGAL AND ARGENTINA 129

beats upon that Southern country. No more vivid examples of
this can be found in the collection than Malhoa's "Returning from
the Festival" (54) and his "Catholic Procession in the Country"
(56). Malhoa, deservedly, captured the grand prize for Portu-
guese art. The single medal of honor went to Jose Veloso Salgado
for his scenes of Minho. The portraits, too, have much of the
intensity of the South. The most noteworthy are those by Colum-
bano, Room 110, winner of the grand prize at St. Louis. The four
rooms show Portugal prolific of artists who seek beauty in scenes
of domesticity and the grandeur of landscapes.

ARGENTINA.— It is interesting to note that the painters of Por-
tugal show more characteristics in common with those of South
America and the Philippines than with their European neighbors.
Their execution is more tamed than that of the Filipino painters,
their style more settled than that of the Argentine. That is not to
the discredit of the Argentines, who, though a new people, have
accomplished much that deserves praise. Their exhibit, in Room
112, is important in its showing of the progress of art in so new a
country, and it is said to be representative. The artists whose
works are shown are almost all young men, a fact which, in con-
nection with their performance, proclaims that Argentina will do
something free and original in the future. Three pictures by
Antonio Alice, Nos. 1, 2, and 3, have been awarded the medal of
honor. They bear witness to Alice's great versatility. Jorge Ber-
mudez' three figure studies (gold medal) are striking. No. 5, "The
Daughter of the Hacienda," is wrongly entitled in the official cata-
log "The Young Landlady." Others in the collection suffer in the
same way, as Coppini's "The Old Station" (20), which is cata-
logued as "The Old Stall." Some of the Argentine landscapes are
striking expositions of the spirit of the pampas, particularly Lavec-
chia's "Near Twilight" (35). As a whole, the paintings are sig-
nificant of the country of their painters, a truly worthy quality.
The sculpture in this room, particularly "Increase and Multiply"
(75), by Pedro Zonza Briano (medal of honor), and a splendid
Indian portrait (32), by Alberto Lagos (gold medal), is admirable.

The INTERNATIONAL ROOM, No. 108, on the east wall between
Sweden, Holland and Portugal, contains but a small portion of the
foreign pictures. Its chief feature is the exhibit of GERMAN art.
Franz Stuck's "Summer Night" (459), Heinrich von Zugel's "In the
Rhine Meadows" (549), both winners of the medal of honor; Curt
Agthe's "At the Spring" (3), and Leo Putz' "The Shore" (387), gold-
medal pictures, are worthily characteristic of Germany's best art.
"El Cristo de los Andes," by E. W. Christmas (bronze medal) is
interesting. The bulk of the pictures under "International Section"
are in the Annex.

130 THE JEWEL CITY

HOLLAND, in Rooms 113-116, shows an art so different in its
characteristics from that of Sweden that she might be at the other
end of the earth. Where the Swedish artists show boldness, some-
times almost to the point of crudeness, the Dutch are intent on
some degree of finish. Modernity of color is apparent, and while
there are few strokes that indicate timidity, there are fine touches
of the poetic in which the Hollander's heart shows its love of home
and gardens. Those great tulip beds are real and luscious. Family
life in the Netherlands is shown in several fine interiors, and the
portraits by Dutch artists are more graceful than those of the aver-
age modernist. The grand prize in the Netherlands section went
to Breitner's snowy "Amsterdam Timber Port" (17). Bauer's "Ori-
ental Equestrian" (7) won the medal of honor. Gold medals were
given to seven artists, named in the list following this chapter.

A thoroughly delightful portion of the art exhibit is the sculp-
ture shown in the colonnades and on the grounds of the Palace.
This is the first time a great exhibit has been displayed in such a
manner. It adds everything to the effectiveness of the sculpture,
wherever the pieces have been designed to be erected out of doors.
It has been possible to show much of the fountain sculpture in its
actual relation to real fountains, and to give the hunters and
Indians, the nymphs and the satyrs, the advantage of natural back-
grounds. In addition to the contemporaneous sculpture there are
some famous pieces here, such as Saint-Gaudens' Lincoln, brought
from Chicago, and the copy of Bartlett's equestrian Lafayette.
Among recent sculpture, one of the most interesting works shown
is a group by G. L. Pietro, of New York, "The Mother of the Dead,"
— a powerful story in bronze of the burden which the war has
brought to woman. (See p. 120.) Pietro's modeling is worthy of
an older artist. Another human tragedy is well told in "The Out-
cast," a graphic figure by Attilio Piccirilli. (P. 136.) Charming bits
of comedy are the whimsical little fountain pieces by Janet Scudder
and Anna Coleman Ladd. The honor-winners in sculpture are
named in the following list.

AWARDS

Awards have been completed and announced by the Fine Arts
juries in all sections except the French. The following list
includes all the grand prizes, medals of honor and gold medals.
The numerous silver and bronze medals and honorable mentions
are omitted. Numbers following the names indicate the rooms
where the work may be found.

UNITED STATES SECTION.—

OIL PAINTING:— GRAND PRIZE.— F. C. Frieseke, 48, 117.

PRIZES AND MEDALS 131

MEDALS OF HONOR.— John W. Alexander, 69 ; Cecilia Beaux, 65 ; Emil Carlsen,
67 ; Walter Griffin, 45 ; Violet Oakley, 65 ; Willard L. Metcalf , 80 ; Richard E.
Miller, 47, 69; Lawton Parker, 69; W. E. Schofleld, 68.

GOLD MEDALS. — Myron Barlow, 120; Gifford Beal, 73; George Bellows, 120; Max
Bohm, 72, 118 ; H. H. Breckenridge, 51 ; H. J. Breuer, 56, 58, 118 ; C. C. Cooper,
37, 47; H. G. Gushing, 66, 68; Charles H. Davis, 67; Ruger Donoho, 46; Paul
Dougherty, 67; J. J. Enneking, 71; Daniel Garber, 68; Lillian W. Hale, 40,
65, 80; W. D. Hamilton, 55, 118, 120; Harry L. Hoffman, 118; James R.
Hopkins, 45, 47; John C. Johansen, 68; Sergeant Kendall, 50; William L.
Lathrop, 37, 50; Ernest Lawson, 73; Hayley Lever, 66, 67, 71; F. L. Mora,
45, 71, 117; Waldo Murray, 120; Elizabeth Nourse, 56; Joseph T. Pearson, 69;
Marion Powers, 56; Ellen Emmet Rand, 65; Robert Reid, 45; William
Ritschel, 68, 71; Edward F. Rook, 45, 48; Robert Spencer, 67, 68; H. O.
Tanner, 117; Louis C. Tiffany, 71; Giovanni Troccoli, 48; Douglas Volk, 85;
Robert Vonnoh, 45, 66, 70; Horatio Walker, 85; E. K. K. Wetherell, 70, 72;
Irving R. Wiles, 70; C. H. Woodbury, 37, 69, 119, 120; Charles M. Young, 45.
WATER COLORS, MINIATURE PAINTING AND DRAWING

MEDALS OF HONOR.— Lillian Westcott Hale, 40; Laura Coombs Hills, 40, 118;
Henry Muhrmann, 54, 72, 119, 120; Frank Mura, 54, 119; F. Walter Taylor,
26; Charles H. Woodbury, 37.

GOLD MEDALS.— William Jacob Baer, 40; Jules Guerin, 40; George Hallowell,
40; Charles E. Heil, 36; Arthur I. Keller, 119; Henry McCarter, 26, 37; F. Luis
Mora, 45, 117; Alice Schille, 37; Henry B. Snell, 69, 117, 119; N. C. Wyeth, 26.

ETCHINGS AND ENGRAVINGS
GRAND PRIZE.— Henry Wolf, 30.

MEDALS OF HONOR.— D. A. Wehrschmidt, 119 ; C. Harry White, not hung.
GOLD MEDALS.— Gustav Baumann, 34; Allen Lewis, 34; D. Shaw MacLaughlin,

not hung; J. Andre Smith, 32; Cadwallader Washburn, 32; Herman A.

Webster, 32.

SCULPTURE
MEDALS OF HONOR.— Herbert Adams, 66, Colonnade; Karl Bitter, 66, 68; D. C.

French, 40, 66, Rotunda.
GOLD MEDALS.— Cyrus E. Dallin, 30, 32, 35, 36, 37, 63, 66, 73, 83, Colonnade;

James E. Fraser, 66, 119; A. Laessle, 51, 66, 67; Paul Manship, 92, 93; Attilio

Piccirilli, 23, 42, 66, 73, 83, Colonnade; Bela Pratt, 61, 66, 89, Colonnade;

A. Phimister Proctor, 72 ; Arthur Putnam, 67 ; F. G. R. Roth, 66.

MEDALS

MEDALS OF HONOR.— John Flanagan, 38, 39.
GOLD MEDALS.— James E. Fraser, 38, 39; H. A. MacNeil, 38, 39.

ARGENTINE SECTION.—

In Room 112.

OIL PAINTING :— MEDALS OF HONOR.— Antonio Alice.
GOLD MEDALS. — Jorge Bermudez, Alejandro Bustillo, Ernesto de la Carcova,

Fernando Fader, Jose Leon Pagano, Octavio Pinto, C. Bernaldo de Quires,

Eduardo Sivori.

SCULPTURE :— MEDAL OF HONOR.— Pedro Zonza Briano.
GOLD MEDALS.— Alberto Lagos.

AUSTRALIAN SECTION.—

In Australian Pavilion.

ETCHINGS AND ENGRAVINGS
GOLD MEDAL.— Mrs. J. C. A. Traill.

132 THE JEWEL CITY

CHINESE SECTION.—

WATER COLOR PAINTING
MEDAL OF HONOR. — Kiang Ying-seng, 94.

GOLD MEDALS. — Su Chen-lien, 94; Kao Ki-fong, 94; Miss Shin-Ying-Chin, 94.
SCULPTURE:— GOLD MEDAL.— Teh Chang, 94.

CUBAN SECTION.—

In Room 20. OIL PAINTING

MEDAL OF HONOR.— Leopoldo Romanach.
GOLD MEDAL. — Rodriguez Morey.

INTERNATIONAL SECTION.—

OIL PAINTING

MEDALS OF HONOR. — Axel Gallen, Annex; Eliseo Meifren, Annex; Franz von
Stuck, 108; Heinrich von Zugel, 108.

GOLD MEDALS. — John Quincy Adams, Annex; Cur^ Agthe, 108; Conde de
Aguiar, Annex; Gonzales Bilbao, Annex; Istvan Csok, Annex; Harold Knight,
Annex; Laura Knight, Annex; Heinrich Knirr, Annex; Lajos Mark, Annex;
Julius Olssen, Annex; Leo Putz, 108; George Sauter, Annex; C. W. Simpson,
Annex; Harold Speed, Annex; H. Hughes Stanton, Annex; Carlos Vasquez,
Annex; Janos Vaszary, Annex; Valentin de Zubiarre, Annex.
ETCHINGS AND ENGRAVINGS

MEDAL OF HONOR. — Frank Brangwyn, Annex.

GOLD MEDALS. — R. G. Goodman, Annex; Willy Pogany, Annex; Bela Uitz,
Annex.

MEDALS

GOLD MEDAL. — Ede Teles, Annex.

ITALIAN SECTION.—

OIL PAINTING

GRAND PRIZE.— Ettore Tito, 21.

MEDALS OF HONOR. — Onorato Carlandi, 21 ; Camillo Innocenti, 21.
GOLD MEDALS. — Leonardo Bazzaro, 21 ; Italo Brass, 25 ; Emma Ciardi, 25 ; Beppe

Ciardi, 25 ; Guiseppe Ciardi, 25 ; Umberto Coromaldi, 21 ; Visconti Ferraguti,

22; Domenico Irolli, 24; Enrico Lionne, 24; Guiseppe Mentessi, 25; Plinio

Nomellini, 24; Feruccio Scattola, 25.

SCULPTURE
GOLD MEDALS.— Luigi Amigoni, 23; Renato Brozzi, 23; Arturo Dazzi, 22;

Guiseppe Graziosi, 23; Antionetta Pagliani, 23.

JAPANESE SECTION.—

WATER COLOR PAINTING
MEDALS OF HONOR.— Ranshu Dan, 1; Toho Hirose, 1; Shoyen Ikeda, 2; Keisui

Ito, 1; Tomoto Kobori, 1.

GOLD MEDALS. — Bunto Hayashi, 1 ; Taisei Minakami, 1 ; Yoshino Morimura, 2 ;
Hachiro Nakagawa, 10; Hosui Okamoto, 1; Tesshu Okajima, 2; Kangei
Takakura, 2.

SCULPTURE
GOLD MEDALS. — Choun Yamazaki, 4 ; Yoshida Homei, 4.

METAL WORK

GRAND PRIZE.— Chozaburo Yamada, 4.
GOLD MEDAL.— Kazuo Miyachi, 4.

LACQUER:— MEDAL OF HONOR.-^Titoku Akazuka, 4.
GOLD MEDALS. — Kozen Kato, 4 ; Hikobei Nishimura, 4 ; Mesanori Ogaki, 4.

POTTERY, PORCELAIN AND CLOISONNg
GRAND PRIZE.— Kozan Miyakawa, 4.
MEDALS OF HONOR.— Sosuke Namikawa, 4; Yohei Seifu, 4.

AWARDS TO FOREIGN ARTISTS 133

GOLD MEDALS. — Eizaemon Fukagawa, 4; Yoshitaro Hayakawa, 4; Kazan Itaya,
4; Tomotaro Kato, 4; Shibataro Kawado, 4; Sobei Kinkozan, 4; Meizan

Yabu, 4.

DYED FABRICS AND EMBROIDERIES
GRAND PRIZE.-Jinbei Kawashima, 4.
MEDAL OF HONOR. — Seizaburo Kajimoto, 4.
GOLD MEDALS. — Chokurei Hamamura, 4; Yozo Nagara and Kiyoshi Hashio, 4;

Goun Namikawa and Torakichi Narita, 4; Saiji Kobayashi, 4.

THE NETHERLANDS SECTION.—

OIL PAINTING

GRAND PRIZE.— G. H. Breitner, 113.
MEDAL OF HONOR.— M. A. J. Bauer, 113.

GOLD MEDALS. — David Bautz, 114; G. W. Dysselhof, 113; Arnold Marc. Gorter,
113; Johan Hendrik van Mastenbroek, 114; Albert Roelofs, 113; Hobbe
Smith, 114 ; W. B. Tholen, 113.

ETCHINGS AND ENGRAVINGS
GOLD MEDAL. — T. H. Van Hoytema, 115.

NORWEGIAN SECTION.—

In the Annex.

OIL PAINTING:— MEDAL OF HONOR.— Harald Sohlberg.
GOLD MEDAL. — Halfdan Strom.

ETCHINGS AND ENGRAVINGS
MEDAL OF HONOR.— Olaf Lange.
GOLD MEDAL. — Edvard Munch.

SCULPTURE
GOLD MEDAL.— Ingebrigt Vik.

PHILIPPINE SECTION.—

OIL PAINTING :— GOLD MEDAL.— Felix R. Hidalgo, 98.

PORTUGUESE SECTION.—

OIL PAINTING

GRAND PRIZE. — Jose Malhoa, 109, 110, 111.
MEDAL OF HONOR.— Jose Veloso Salgado, 109, 111.

GOLD MEDALS. — Artur Alves Cardoso, 109, 110, 111 ; Ernesto Ferreira Condeixa,
109, 111; Joao Vaz, 109, 110, 111.

SWEDISH SECTION.—

OIL PAINTING :— GRAND PRIZE.— Bruno Liljefors, 100.
MEDAL OF HONOR.— Gustaf Fjaestad, 107.

GOLD MEDALS.— Elsa Backlund-Celsing, 104; Wilhelm Behm, 103; Alfred Berg-
strom, 103; Oscar Hullgren, 103; Gottfrid Kallstenius, 100, 104; Helmer
Mas-Olle, 102; Helmer Osslund, 102; Emil Osterman, 106; Wilhelm Smith,
100, 103, 106; Axel Torneman, 100, 104.

WATER COLOR, MINIATURE PAINTINGS AND DRAWINGS
GRAND PRIZE.— Carl Larsson, 101.
MEDAL OF HONOR.— John Bauer, 104.
GOLD MEDAL. — Oscar Bergman, 101.

SCULPTURE
GOLD MEDAL.— Gottfried Larsson, 100.

MEDALS
GOLD MEDAL.— Eric Lindberg, 99.

URUGUAY SECTION.—

OIL PAINTING :— GOLD MEDAL.— Manuel Rose, 19.

XIII.
THE EXPOSITION ILLUMINATED

First attempt to light an exposition indirectly, from concealed
sources — Notable success of Ryan's work — Transformation of
the Tower of Jewels — Details of his method — Weirdness of
the Court of Ages at night.

EAUTIFUL as the Exposition is by day, it is at night
that it becomes loveliest as a spectacle. Then it is
a great glow of soft color, without shadow, but also
without garishness. Never before has the attempt
been made to light an exposition as this one is lighted.
The highest standard before attained was a blaze of electric light
secured by outlining the buildings with incandescent bulbs. That
was the work of electricians. Here the illuminators are artists
who have created a great picture of light and color.

There is no blaze or glare. Light floods the Exposition, but
from concealed sources. All-pervasive, seemingly without source,
the illumination is rather a quality of the Exposition atmosphere
than an effect of lights. Nor is it a white light. It is softened
and tinged with the warmest and mellowest of colors. So mellow,
indeed, is the illumination that it would not even be brilliant
but for the radiance of thousands of prisms hung about the great
Tower of Jewels, the intense light of which swathes the lofty
structure in a pure glow, at once bright and ethereal. (P. 135.)

Above the glow in which the palaces are bathed, a pageant
of light and color marches across the sky, a splendid aurora
borealis, its bannered troops now wheeling in ordered array, now
breaking their formation in wild riot, until out of the fantastic
show huge beams of light separate to pierce the heavens.

This unique system of illumination, devised by W. D'A. Ryan
expressly for the Panama-Pacific Exposition, depends upon floods
of light from concealed sources. Around the walls of the palaces
stand tall Venetian masts, topped with shields or banners. Con-
cealed behind the heraldic emblems are powerful magnesite arc
lamps. These spread their intense glow on the walls, but are
hardly recognized as sources of light by the passer-by on the
avenues. Batteries of searchlights and projectors mounted on the
tops of buildings light the towers, the domes, and the statuary.
Even the banners on the walls are held in the spotlights of small
projectors constantly trained on them. That there may be no
shadows, concealed incandescent bulbs light up every corner and
angle of the towers, the arches, and the cloisters.

TOWER OF JEWELS AT NIGHT, showing the system of illumination by power-
ful searchlights placed on near-by buildings. On the right is the south por-
tal of the Palace of Liberal Arts.

( P. 135 )

TYMPANUM, PALACE OF VARIED INDUSTRIES, south portal, represents Com-
merce (right), Labor, Agriculture (center) , Architecture, and Textiles (left).
It is bii Ralph Stackpole.

TYMPANUM, PALACE OF EDUCATION, Gaston Gerlach, sculptor, pictures the
different ages of learning, from infancy to maturity.

( P. 138 )

THE COURTS AT NIGHT 139

The ghostly radiance of the Tower of Jewels comes from huge
searchlights aimed at it from a circle of hidden stations. The
many-colored fan of enormous rays, the Scintillator, which stands
against the sky behind the Exposition, is produced by a search-
light battery of thirty-six great projectors mounted on the break-
water of the Yacht Harbor. It is manned nightly by a company
of marines, who manipulate the fan in precise drills.

Concealed lights shine through the waters of the fountains.
In the Court of the Universe they are white, the colorless bril-
liance of the stars; in the Court of Seasons they are green, the
color of nature; in the Court of the Ages they are red, with clouds
of rosy steam rising around them. Writhing serpents spout leap-
ing gas flames on the altars set around the pool of the Ages, and
from other altars set by the entrances of the Court rise clouds
of steam given the semblance of flame by concealed red lights.
By the high altar on the Tower of Ages the same device is used
to make the lights flame like huge torches.

The palaces themselves are not lighted at night, though they
have the appearance of being illuminated. Behind each window
and doorway are hung strings of lights backed by reflectors. A
soft glow of light comes forth, giving animation to the palaces
and strengthening the picture outside.

There are two ways to see the Exposition at night, both of
which must be followed if one is to get the fullest appreciation
of the magic beauty of the lighting. One is to wander about the
palaces and courts in the midst of the soft flood of mysterious
light, watching the play of the fountains, the barbaric flames of
the Court of Ages, the green shimmer of the waters in the Court
of Seasons, the banners fluttering in strong white light, the stat-
uary in changing hues according to the color screens used before
the projectors, the Aurora Borealis above the Scintillator battery.

The other is from a distance. I have seen the illuminated
Exposition from the top of Mount Tamalpais, whence it was a
wondrous spectacle. But best of all I like to watch it from the
hill at the corner of Broadway and Divisadero streets. It is best
to go there early, before the lights are turned on. Then you may
see the wonderful rosy glow of the Tower of Jewels and the two
Italian towers before the white light of the projectors is flashed
on them. Red incandescents are hidden behind all the columns
of the Tower of Jewels and concealed in each of the Italian
towers, as well as in the open spaces in and around the dome of
Festival Hall. These are always turned on first. The Tower of
Jewels then glows with a soft mellow red, less brilliant, but
warmer and more colorful than its incandescence later on. The

140 THE JEWEL CITY

rich light wells up from the Italian towers and Festival Hall, and
spreads from all their openings to stain the walls around with
deep rose.

Then the ray of a searchlight falls on the Bowman atop the
Column of Progress, silhouetting that heroic figure in the night
as though he floated at a great height above the earth. Beams
from other searchlights cause the Nations of East and West to
stand out with startling distinctness on their triumphal arches;
the great bulls of the Court of Seasons glow against the night;
the golden fires are lighted in the Court of Ages. The tall masts
around the palaces softly illuminate the walls. First one side
and then another of the Tower of Jewels is bathed in white
light, until the Tower stands out in ghostly radiance. Two slender
shafts of light shoot upward on either side of the globe atop
the Tower and stand there, symbols of pure aspiration reaching
to the heavens. Behind it all the huge and many-colored fan of
the Scintillator opens in gorgeous color in the northern sky.

The illumination is at its best on a misty night. Then its
spectacular effects become more spectacular. The moisture in
the air provides a screen to catch the colored lights and make
them visible in their fullest beauty. The Exposition recognized
this need of a background for the great beams of the Scintillator
when it provided for the clouds of steam that are nightly sent
floating upward through the shafts of colored light. Nothing
brings out the wonder of the Court of Ages at night like mist or
fog. On the first night that all the illumination was given a full
rehearsal it was raining slightly. The incandescence of the great
globe of the Earth, the leaping flames on the altars by the pool,
the rosy clouds over the bowls by the entrances and from the
torches on the high Altar of the Ages, became strange, mystic,
almost uncanny.

Of the beautiful light that falls upon the Palace of Fine Arts
(P. 131), I can do no better than to quote from Royal Cortissoz:
"At night and illuminated, it might be a scene from Rome or
from Egypt, a gigantic ruin of some masterpiece left by Emperor
or Pharaoh. The lagoon is bordered by more of those heavenly
hedges that I have described. There are trees and thickets to
add to the bewilderment of the place, to make it veritably the
silenzio verde of the poet. And with the ineffable tact which
marks the lighting of the Fair, this serene spot is left almost, but
not quite, to the dim loveliness of night. The glow that is given
its full value elsewhere is here at its faintest. The pageant ends
in a hush that is as much of the spirit as of the senses."

XIV.
MUSIC AT THE EXPOSITION

Early neglect of music by the Exposition management remedied
by the appointment of George W. Stewart, of Boston, as man-
ager— Engagements of Camille Saint-Saens and the Boston
Symphony Orchestra the musical events of the summer —
Original compositions by the French master — Sousa and his
great band — Other notable bands — Lemare's organ concerts —
Splendid choral performances by famous organizations — A
half-million for music.

fUSIC cannot be omitted from any scheme of mundane
celebration. In an exposition of the character of this
one, where all art has been given so high a place, this
gift of the gods must assume an unusual importance.
It is important here, not only as a means of entertain-
ment, but as a means of cultural development, and as an intel-
lectual factor in the evolution of the race. This Exposition justi-
fies itself by its storehouses of knowledge. Its reason for exist-
ance is the permanent advancement of the people of the world
in all that art, science, and industry, can bring to its palaces for
pleasurable study.

With the agreement that a great pipe organ was to be installed
in Festival Hall, and that orchestras and bands were to be engaged,
the early speculative musical labors of the directorate ended.
Casual indeed was the attention paid to music during all of the
early part of the pre-Exposition period. Material interests — and
there were millions of them — cried for consideration, while the
still, small voice of music was drowned in the clangor of con-
struction. Just as music is the last of the arts to receive recog-
nition at our universities, so it was neglected here until so much
time had elapsed that only the most fortunate of accidents could
give song and symphony their proper places among the wonders
that were ultimately to find a home in the Jewel City. Fortu-
nately, accident for once proved kind; vigorous direction emerged
fortuitously from apathy.

In the early building period, President C. C. Moore turned aside
from his other cares long enough to appoint J. B. Levison Chief
of the Music Department. A better choice could hardly have been
made. For more than two decades Mr. Levison, an able amateur
in music, and a business man of high standing, had been identified
with all of San Francisco's larger efforts in its musical life. But
Mr. Levison's grasp of the importance of such a post was more

142 THE JEWEL CITY

comprehensive than President Moore's, for he refused the position.
Fortunately, however, he had his attention directed to George W.
Stewart, of Boston, a former artist of the Boston Symphony
Orchestra, a man technically equipped, who had made a great suc-
cess of the music at the St. Louis Exposition. Stewart was en-
gaged, and to him is due the credit for the remarkable record
music has already made at the Panama-Pacific Exposition.

Aside from the construction of the $50,000 pipe organ, which,
after the Exposition, will be placed permanently in the Civic
Auditorium, the two most important musical items found on the
schedule of Exposition enterprises are the engagements of Camille
Saint-Saens and the Boston Symphony Orchestra. The former,
who maintained that "Beethoven is the greatest, the only real,
artist, because he upheld the idea of universal brotherhood," is
perhaps better fitted than any living composer to write special
music for the Exposition. This he has done, — writing two com-
positions in fact; and their presentation has been an outstanding
feature. "Hail, California," was dedicated to the Exposition.
Scored for an orchestra of eighty, a military band of sixty, a
chorus of 300 voices, pipe organ and piano, its first presentation
was an event. The Saint-Saens Symphony in C minor (No. 3)
Opus 78, composed many years ago, has become a classic during
the life-time of its creator. It was one of the wonders of the
Boston Symphony programmes played in Festival Hall. Its yield
of immediate pleasure and its reassurance for the works of Saint-
Saens to be heard later, grew from the fact that it was scored for
orchestra and pipe organ, and in this massive tonal web the genius
of the composer to write in magnificent size was overwhelmingly
evident, thus forecasting the splendors of "Hail, California."

The other work written by this visitor from Paris is in ora-
torio form and titled, appropriately, "The Promised Land." A
huge choir of 400 voices, directed by Wallace Sabin and named in
honor of the visitor, the "Saint-Saens Choir," rendered a good
account of the ensemble sections of the choral composition, while
the Exposition orchestra of 80 instrumentalists and the Exposition
organ added effectiveness to the accompaniment. Sabin presided
at the organ. In addition to these appearances, the composer
conducted three recitals during the latter part of June, when all
of the compositions offered were his work.

The visit of Dr. Karl Muck with his Boston Symphony Or-
chestra has become a luminous memory. The trip is utterly new
in the history of music anywhere, nothing like it ever before
having been attempted. It is said that the transportation bills
alone amounted to $15,000, and there were no stop-overs en route

THE BOSTON SYMPHONY'S VISIT 143

for concert performances to help in defraying this bulky first
cost. It is proper to record here the financial success of the
venture. While the season of twelve concerts was yet young,
more than $40,000 had been taken in at the box office, and the
estimated expenses of $60,000 were liquidated, with a margin of
profit. This was enhanced by an extra concert, the thirteenth.
Tickets for the season were sold in Chicago, New York, Boston,
Seattle, Spokane, Tacoma, St. Louis, Portland, Maine, and Port-
land, Oregon, while San Francisco and the bay communities in
general sent their thousands to the glorious recitals. The result
will be seen in a stimulation of music in the West.

But the engagements of Saint-Saens and Dr. Muck with his
orchestra do not sum up the important activities of the Expo-
sition's music. There are other features which challenge even
these in popular estimation.

John Philip Sousa has spent a long season at the Exposition.
A blunder was somewhere made in dating the arrival of the March
King and his splendid instrumentalists, who came while yet the
Boston Symphonists were playing in Festival Hall. As a result
the finest of bands was placed in competition with the finest
of orchestras. But nothing disastrous happened. Those who
desired, to the number of fifteen thousand, heard Sousa at his
opening concert in the Court of the Universe; those who desired
heard Dr. Muck's instrumentalists, to the seating capacity of
Festival Hall.

Featured concerts have been and are being given by massed
bands composed of Sousa's, Cassasa's, Conway's and other mili-
tary or concert organizations.

Briefly, and regardless of the importance of each item, here
are some of the attractions which make this Exposition vocal and
harmonious : Edwin Henry Lemare, of London, by general critical
agreement declared the greatest living organist, is expected here
early in September, when he will begin his series of one hundred
organ recitals, to continue till the Exposition closes in December.
A unique episode of the Exposition music must not be overlooked
in the recital by Madame Schumann-Heink, whose graciousness
found another expression in her concert given exclusively and
gratuitously to the children. More than three thousand of the
little folk were in Festival Hall when the grandest of singers sang
for them alone. The visit already accomplished of Gabriel Pares
and his famous Republican Guard band of Paris; the engagement
already begun of the Ogden Tabernacle Choir of 300 voices; the
Eisteddfod competitive concerts; the long stay of the Philippine
Constabulary band under the leadership of Captain W. H. Loving;

144 THE JEWEL CITY

Emil Mollenhauer's big Boston band; the concerts of the United
Swedish Singers; the Apollo Music Club's promised visit from
Chicago — the organization is coming intact with all of its 250
vocalists and its distinguished composer-conductor, Harrison M.
Wild; La Loie Fuller's spectacles, and the engagement of forty
noted organists to appear in Festival Hall in addition to Lemare
and Clarence Eddy, are a few of the accomplished or promised
attractions. To this list must be added the daily concerts given
gratis at different periods by various bands other than those
named — the official Exposition band of 45 players under the sea-
soned direction of Charles H. Cassasa; Thaviu's splendid band
of 50; Conway's military and concert band of 50, and others yet
to be had in the world of music will be spread for their delecta-
concerts are booked. As proof of the worth of these, let the
achievements of the recent past speak. We have heard the Ala-
meda County 1915 Chorus of 250 voices under Alexander Stewart
in a majestic performance of Handel's "Messiah;" the Exposition
Chorus under Wallace Sabin in a repetition of the music sung as
part of the opening day's celebration — "The Heavens are Telling,"
from Haydn's "Creation," and the official hymn — "A Noble Work"
— by Mrs. H. H. A. Beach; the Berkeley Oratorio Society under
the inspiring direction of Paul Steindorff in two splendid concerts,
the first given to Rossini's "Stabat Mater" and the second to
Brahms' "German Requiem;" and the Pacific Choral Society's
performance of Haydn's "Creation" under the musicianly leader-
ship of Warren B. Allen. More music may confidently be looked
for from these rich sources.

The Exposition authorities declare that half a million dollars
will have been expended on music before the end of the life of
the great enterprise. Thus visitors to the Exposition may come
at any period of the Jewel City's existence, knowing that the best
to be had in the world of music will be spread for their delecta-
tion, and that they will be afforded a comprehensive view of the
art of tone as it exists today. In this respect the Exposition's
musical "exhibit" is similar in its scope to the revealments in all
its other departments; for the Exposition is avowedly devoted to
contemporaneous rather than historic achievements.

Nothing that extends contemplation over a wider period than
the last five years is admitted for competitive exhibition. The
modern composer, no less than the modern inventor, is having
his day at the Exposition. This is as it should be. We are hear-
ing, have heard, or will hear, the last utterances of present-day
musical creators. Indeed, in the case of one — Saint-Saens — we
heard, as I have recounted, two massive compositions written

A RECORD OF MUSICAL PROGRESS 145

expressly for the Panama-Pacific International Exposition, and
John Philip Sousa has bent his most martial mood to the compo-
sition of an inspiring march which is called "Panama." But
music also enjoys a privilege not accorded equally to any other
department of Exposition display. The works of the past, as
well as the present, are given. A history of music at the Expo-
sition properly written — as one surely should be — would be an
epitome of the evolution of the art from Gherubini, Haydn and
Bach to Richard Strauss, Saint-Saens and Debussy. It would
involve in its telling the stories of music in Italy, Germany,
Austria, England, France, Russia, Scandinavia, yes, and America,
too! It would include an account of the genealogy of the modern
orchestra as exemplified in the Boston Symphony or the Official
Symphony, and of military bands up to the perfected concert
organizations headed by a Sousa or a Gabriel Pares. It would
embrace with like inclusiveness the history of the pipe organ
through its stages of evolution from the ponderous instruments
with men straddling unwieldy bellows to the marvel installed
in Festival Hall, and it would embrace the history of the art of
organ music up to such exemplars as our own Clarence Eddy,
John G. McClellan, Edwin Lemare, and Camille Saint-Saens. What
a chapter would be set aside for the record of Exposition choral
music! Already there has gone abroad from the Festival Hall
an impetus towards better chorus music that will, I feel sure,
firmly establish this somewhat neglected department of musical
art in the far West.

XV.
INSIDE THE EXHIBIT PALACES

All competitive exhibits strictly contemporaneous, showing the
arts of to-day — Revolution worked by the motion-picture
theater in exhibition methods — The lessons of Machinery Pal-
ace— Coal and steam fast yielding to liquid fuels and water-
power and electricity — Life-saving devices, accident preven-
tion and employees' welfare made prominent in Palaces of
Machinery and Mines — A contrast in locomotives — Building a
motor car every ten minutes — Co-operative exhibits in Food-
Products Palace — Many great displays by the United States
Government — Educational exhibits not duplicated, each state
or city showing its specialty.

N ITS industrial displays, as well as its art, the Expo-
sition keeps steadily in view the fact that it com-
memorates a contemporary event; it is contempor-
aneous, not historical. Hence it was decreed from the
first that the exhibits must be the products of the last
decade, a rule strictly observed save in rare cases where older
forms have been admitted for comparison. The result is two-
fold. The exhibits are condensed to the essential, giving room
for a greater number of exhibitors; and the progress of the world
is shown as of today.

Eleven palaces house the exhibits, exclusive of live stock.
Officially, the things shown in the state and foreign buildings are
not "exhibits," but "displays," and are not eligible for award. In
general, the names of the palaces indicate the classes of exhibits
to be found in them. No sharp line, however, can be drawn be-
tween the Palaces of Manufactures and Varied Industries, or be-
tween Agriculture and Food Products. In other cases there is
some overlapping of classes. One section of the Liberal Arts
exhibit is in the Palace of Machinery.

A striking feature of almost all the palaces, and one that dif-
ferentiates this Exposition from its great predecessors of a decade
or more ago, is the common use of the moving-picture machine
as the fastest and most vivid method of displaying human activi-
ties and scenery. Everywhere it is showing industrial processes.
Former expositions, for want of this device, have been mainly
exhibitions of products. These have hitherto been shown in such
bulk as to fill vast floor spaces and become a weariness to the
flesh, while it was impossible, from the nature of things, to
exhibit the great primary industries of field, forest, sea and mine

THE GENIUS OF CREATION," by Daniel Chester French, before the west portal
of the Palace of Machinery, shows an angelic spirit in the attitude of creative
command, while the man and woman below represent the highest types brought
forth.

( P. 147 )

THE AUSTRALIAN PAVILION, George .7. Oakeshott, of Sydney, architect, in its
frieze and tower symbolizes the union of the several states in the Australian
Commonwealth.

THE CANADIAN PAVILION, Humphreys, Limited, of London, architects, is an
imposing classic structure, and the largest foreign building in the Exposi-
tion. Both of these structures house splendid exhibits of the resources and
scenery of their countries.

( P. 148 )

THE MOTION-PICTURE'S REVOLUTION 149

in actual operation. The motion-picture machine has not only
lessened the areas of products shown, thus making this Exposi-
tion more compact than former ones; but it has increased the
effectiveness of exhibition methods by carrying the spectator,
figuratively, into the midst of operations, and showing him men
at work in all the important processes of agriculture, in the log-
ging camps, in mines and fisheries, as well as in the mills and
factories where the raw materials of these basic industries are
worked into finished products. Its value for showing scenery,
too, is fully utilized here. Many of the states and foreign coun-
tries employ it. Even far-away Siam uses it to instruct the Occi-
dent concerning her resources and people. Counting those in the
state and foreign buildings, seventy-seven free moving-picture
halls are to be found within the Exposition. Their efficiency is
indicated by the crowds that throng them daily.

THE PALACE OF MACHINERY holds three lessons for the ob-
server. It shows not only the state of man's invention at the
present moment, the increasing displacement of coal by hydro-
electric plants and liquid fuels, but what is perhaps more sig-
nificant, the changing direction of invention toward devices for
human betterment. The Diesel oil engine and multitudes of
electrical machines stand for the latest word in mechanical in-
vention. The Diesel again, with a host of other internal combus-
tion engines, the electric motors and waterpower plants, and the
absence of steam machines, bear witness to the downfall of steam.
But the great space given to safety devices, to labor-saving ma-
chines, to road-making machinery, and to mechanical devices for
increasing the comfort of country life, are evidence of the part
machinery is coming to play in the task of making life more
livable. As an exhibition of modern mechanical invention, Ma-
chinery Hall is unique, as all this Exposition is unique. There
is almost nothing in it that is not the product of the last ten years;
it actually represents construction of the last two years. Indeed,
the wholly contemporary nature of the exhibits leaves the visitor
without visible means of comparison.

As at the Centennial Exhibition in 1876, a prime mover is the
central figure in the building. There it was the immense Corliss
steam engine. Here it is a Diesel, started by President Wilson by
wireless on the opening day, and generating all the direct current
used in the palace. Another commanding exhibit is a 20,000-
horsepower hydro-electric generator, significant of the modern
use of water-power. The United States Government is the largest
exhibitor in the building, with numerous fine models of warships,
docks, dams and submarine mines; torpedoes, artillery, armor

150 THE JEWEL CITY

plate and shells, army equipment, ammunition-making machinery
in operation, light-houses and aids to navigation, and a splendid
set of models illustrating road-making methods. Crowded out of
its proper place in the Palace of Liberal Arts, the exhibit of the
printing trades occupies a section here, including a huge color
press turning out illustrated Sunday supplements.

THE PALACE OF MINES AND METALLURGY offers ample evi-
dence of the great figure which steel now makes in the world, and
of the vast extent of the petroleum industry. Here, too, as in
Machinery Hall, accident prevention is emphasized. From this
point of view insurance exhibits are not out of place here. The
United States Steel Corporation, with its subsidiary companies,
shows in this palace the largest single exhibit seen in the Exposi-
tion, save those of the United States Government. Noteworthy are
its excellent models of iron- and coal-mining plants, coke ovens,
furnaces, rolling mills, docks, ships, and barges, and an extensive
section devoted to the welfare of employees, with model play-
grounds.

Many states and nations, and many world-famous mining com-
panies are represented by exhibits of ores and metals, of mine
models, and mining and metallurgical processes in operation.
California shows a gold dredger and a hydraulic mine in opera-
tion. The great copper mines of California, Montana, Utah, and
Japan, have installed significant exhibits. The United States Gov-
ernment operates in this palace a model mint, a model post office,
and features a daily "mine explosion," with a demonstration of
rescue work.

THE PALACE OF TRANSPORTATION places its emphasis on
automobiles and roads, electric locomotives and cars, and the
mammoth types of modern steam locomotives. All of these exhibits
represent construction of the last year, with one exception. The
first Central Pacific locomotive stands beside a Mallet Articulated
engine, — an enormous contrast. One third of the floor space is
filled with steam and electric locomotives and modern cars. Some
are sectioned, and operated by electric motors, vividly illustrating
the latest mechanical devices. Another third of the palace is
devoted to motor cars. The Ford Motor Car Company maintains
a factory exhibit in which a continuous stream of Fords is
assembled and driven away, one every ten minutes.

Plans for a great exhibit of aeroplanes were destroyed by the
war. The Exposition, however, maintains a constant exhibit of
the spectacular side of aeronautics in remarkable flights by famous
aviators. After Lincoln Beachey was killed in one of these per-
formances, his place was taken by Arthur Smith, who was in-

TWO GREAT BIRDMEN 15t

stantly crowned as a far more dazzling birdman. Two aeroplanes
are the only representation in the palace. Steamship companies
have erected here sections of their vessels. Railroads make inter-
esting exhibits of scenery along their routes, of safety devices and
of railroad accessories. The Canadian Pacific, Grand Trunk Pa-
cific, Great Northern, Southern Pacific, Union Pacific, and Santa Fe
systems maintain buildings of their own, exhibiting the scenery,
agriculture and other resources of the country through which they
pass.

THE PALACE OF VARIED INDUSTRIES illustrates the enor-
mous complexity of modern material needs. Packed with severely
selected manufactures, it is made especially interesting by the
many processes shown in operation. Cotton and woolen mills,
linen looms, knitting machines, machines for weaving fire hose,
a shoe-making factory, a broom factory, and many others, are
particularly attractive because they are engaged in making familiar
articles. The machines in use demonstrate the refinements of
present-day manufacturing processes. The factories of many
nations are represented in this palace. Germany makes here her
largest exhibit, notably of cutlery and pottery.

THE PALACE OF MANUFACTURES differs from the Palace of
Varied Industries as a bolt of silk differs from a bale of leather.
Yet this general distinction between the finer and the coarser
classes of factory products is not rigidly adhered to. The Palace
of Manufactures is distinguished by a remarkable exhibit of fine
wares by the Japanese, and another of commercial art from Italy.
Fortunately this Japanese display is of goods in the ancient style,
infinitely more interesting, though less significant, than the exten-
sive exhibits in other palaces of Japanese wares manufactured in
competition with Western nations. Most beatiful are the ceramics,
the lacquered ware, and the silks. Great Britain is an extensive
exhibitor of cutlery, pottery, and textiles. Manufacturing proc-
esses are shown in operation in this palace, though less than in
the Palace of Varied Industries.

THE PALACE OF LIBERAL ARTS found its six acres of floor
space insufficient. The exhibits, forming a remarkable demonstra-
tion of the breadth of applied science, embrace electrical means of
communication, including wireless telegraphy and telephony,
musical instruments, chemistry, photography, instruments of pre-
cision and of surgery, theatrical appliances, engineering, archi-
tecture, map-making, typography, printing, book-binding, paper
manufacture, scientific apparatus, typewriters, coins and medals,
and innumerable other articles. A great space is occupied by talk-
ing machines "demonstrated" in musical theatres, and by cameras.

152 THE JEWEL CITY

The American Telegraph and Telephone Company maintains trans-
continental telephone connection between its theatre and New
York, and gives daily demonstrations. The United States Govern-
ment has installed a great variety of displays. Most striking,
perhaps, is the section from the National Museum, where the most
modern methods of exhibition are exemplified in cases containing
human groups that are almost real life. The great pipe organ in
Festival Hall is classed as one of the exhibits of this palace. Ger-
many, Japan, China, the Netherlands, Uruguay, Cuba, and New
Zealand are heavy exhibitors here. Of special interest is the
German exhibit of radium and its allied metals.

THE PALACE OF EDUCATION AND SOCIAL ECONOMY con-
tains the special educational exhibits of this Exposition, which
itself, as a whole, is a world-university. Its striking features are
the great number of official exhibits by states, cities and foreign
nations, and the emphasis laid on industrial and vocational educa-
tion, public health, playgrounds, and the training of abnormal
children. An educational exhibit is one of the most difficult to
make vivid and interesting to the general public. This palace
has succeeded by avoiding duplication. To each state or city was
assigned a special problem, as far as possible the one to which it
had contributed a noteworthy solution. Thus, Massachusetts shows
her vocational methods, while Oregon specializes on rural schools
as neighborhood centers. Among the cities, St. Louis devotes most
of its space to the educational museum, while Philadelphia empha-
sizes central high schools. The United States Government supplies
a branch of its Children's Bureau, with daily conferences for
parents. Among the many instructors who have been engaged to
conduct classes in the palace is Dr. Maria Montessori, who is to
give a course of lessons based on her famous system. The Philip-
pine exhibit shows that Americans have developed in the Islands
a system of practical education which American teachers should
study.

THE PALACE OF AGRICULTURE is an instructive presentation
of modern farm methods, as well as of raw products of the soil.
It shows admirably the great advance in agriculture in the United
States, giving due space to the work and influence of the state
agricultural colleges. Particularly impressive is the array of farm
machinery and the wide application to it of the gasoline motor.
After seeing it, one wonders what place is left on the farm for the
horse. The fundamental nature of agriculture has brought more
states and foreign countries into this palace than are represented
in any other. A significant representation is that of the Philip-
pines, an exhibition of enormous natural resources. Its display of

PURE-FOOD METHODS AND PRODUCTS 153

fine hardwoods is the finest ever made by any country. Similar
exhibits of Argentina and New Zealand are also excellent. Fores-
try takes a large place in this palace, the United States Govern-
ment making a big forestry exhibit in addition to the great general
display of the Department of Agriculture.

THE PALACE OF FOOD PRODUCTS is a temple of the tin can
and the food package. It is made one of the most interesting of
all the Exposition buildings by its numerous processes in operation.
A large part of it is really a factory, turning out before the visitor's
eyes the different familiar edibles of the magazine advertisements.
A mint of money must have been spent by these exhibitors. A
flour company, for example, has installed a complete mill in which
flour is manufactured, and then made into many kinds of cakes
and pastries by a row of cooks of various nations. A bakery in
connection with this mill turns out 400 loaves at a baking. As in
every exposition, visitors crowd the booths where edible samples
are distributed. After viewing many such scenes, a local humorist
dubbed this building "the Palace of Nibbling Arts."

The new idea of co-operation among manufacturers appears in
a number of collective exhibits. California wine producers have
united in a splendid display, far more impressive than could be
made by an individual. The Pacific Coast fisheries have joined in
an elaborate exhibit of every sort of tinned fish. The United
States Bureau of Fisheries maintains an extensive aquarium of
fresh- and salt-water fishes. The State of Washington has another,
with a salmon hatchery in operation. Modern production of pure
food is greatly emphasized. In a building of its own, a Pacific
Coast condensed milk concern operates a good-sized factory,
using the milk of its herd of pure-bred Holsteins, kept in the Live-
stock section.

THE PALACE OF HORTICULTURE, with its gardens, has been
planned with a three-fold purpose, — to appeal with equal interest
to the tourist, the student, and the business man. Its exhibits by
states and foreign nations picture the gardens and orchards of
the world. Its factory installations exhibit actual processes of
preparing and preserving fruit and vegetable products. Under the
great dome are the Cuban and Hawaiian collections of tropical
plants and flowers, already described in the chapter on the South
Gardens. In the flanking rooms are displays of orchids and
aquatic plants. In the main hall Luther Burbank shows his crea-
tions. An exhibit of fresh fruits in season is maintained. The
gardens outside show plants and shrubs from many states and
countries, including the great exhibit of the Netherlands Board of
Horticulture.

XVI.
THE FOREIGN PAVILIONS

Buildings characteristic of the nations represented — Many adapta-
tions of famous old-world structures — Younger countries
build expressions of their progress — Noteworthy pavilions of
France, Holland, and the Scandinavian kingdoms — Italy's mas-
terpiece in historic architecture — Argentina, Bolivia and other
Latin-American republics well represented — Canada and Aus-
tralia present fine buildings and splendid exhibits — China and
Japan reproduce renowned gardens, temples and palaces —
Rich treasures of art and industry shown by many countries.

JLMOST all the twenty-one foreign pavilions at the
Exposition are characteristic of the architecture of
the nations that built them. Some, like the unique
Japanese temple or the beautiful French pavilion, are
reproductions of famous old-world buildings. The
three fine Scandinavian pavilions reflect notable types of national
architecture. Italy's delightful group, which is the most note-
worthy of all, is for every one who has visited that country an
epitome of her most interesting historic palaces, rich in the art of
the Renaissance. The buildings of the newer countries, like Canada
or the Argentine, which have not yet had time to develop char-
acteristic styles of their own, are admirable expressions of their
progress and prosperity.

ARGENTINA.— The Argentine Pavilion is really a palace. It is
the work of Sauze, a celebrated architect of Buenos Aires, in the
style of the French Renaissance. (See p. 169.) The Argentino
exhibits, with the exception of dioramas, moving pictures, and
photographs, are in the Exposition palaces. The pavilion is the
center for the social functions of the Commission.

Both exterior and interior of the building illustrate the amaz-
ing progress of the South American republic in art, as its exhibits
in the Exposition palaces exemplify its advancement in industry
and commerce. The entrance opens into a noble hall, imposing in
its simplicity. In the clerestory the walls are decorated with fine
murals by the brush of the Argentine artist, Colivadeno, — works
which show that Argentine art has the beauty, freshness and vigor
of the nation from which it springs. In the center of the hall is an
exquisite bit of sculpture.

On left and right the foyer opens into a fine reception hall and
a graceful refreshment room. In the rear is a theater, where mov-
ing pictures of Argentine scenes are shown daily. In the wall of

ARGENTINE AND AUTRALIAN PAVILIONS 155

the corridor surrounding the theater on the first floor are excellent
panoramas showing scenery and resources. Among these is a view
of the famed Iguazu Falls, the greatest and most magnificent water-
fall on the globe. In the corridor upstairs are other panoramas, a
series of photographs, and a collection of graphic charts which
show the commerce, finance, industry, administration, education
and social service of the republic. The second floor ends at the
rear in a beautiful library.

The pavilion was built entirely of materials brought from
Buenos Aires, and constructed by Argentine workmen.

AUSTRALIA. — The Australian Pavilion, at the Presidio entrance
to the Exposition, was designed by George J. Oakeshott, P. I. A.
N. S. W. (P. 148.) Obviously it is intended to symbolize the indus-
trial cohesion of the six Australian States, New South Wales, Vic-
toria, Queensland, South Australia, West Australia, and Tasmania.
The facade bears below the cornice the titles of the states, with
the state banner waving from a staff above. All are subordinated
to the central tower, floating the flag of the Commonwealth.

Because its exhibits are eloquent of the resources of the great
young country, the Pavilion has been described aptly as "the shop-
window of the Commonwealth." The building is, in fact, a huge
sample room; and although the large states only, New South Wales,
Victoria and Queensland, provided the display, each section is
adequately representative of all Australia produces. Tropical
fruits and other products from the northeast combine with the
horticultural and agricultural products of the temperate zone.
Minerals from the rich fields of all the states are grouped. The
opals and gems from White Cliffs and Lightning Ridge in New
South Wales vie with other precious stones from Queensland in
forming one of the great attractions. Handsome building stones,
including exceptional marble, are side by side with samples of the
world-famous hardwoods and the scarcely known but beautiful
cabinet woods from the Australian forest, while the pastoral areas
have provided wonderful collections of wool, leathers, meat and
by-products. The agricultural exhibits have attracted much atten-
tion, and were so arranged as to show the productiveness of irri-
gated areas as well as of the country generally. Carefully pre-
pared literature, distributed liberally, has been a feature of the
efforts of the Australians. The commissioners have made it their
boast that nothing has been exaggerated; everything is "real."
Even art critics who visit the pavilion will not be disappointed,
for on the walls they will find many paintings of merit by Austra-
lian artists, including loan collections from the National Gallery of
New South Wales and the Victorian Art Society.

156 THE JEWEL CITY

The Australian exhibits, unlike those of most other countries,
have been grouped in this building, instead of being shown in the
various Exposition palaces.

BOLIVIA. — Bolivia has erected one of the most essentially
national pavilions at the Exposition, an admirable building that
expresses equally the two elements of its population, the Spanish
and the Indian. The building is Spanish in its solid rectangular
plan; its entrance is copied from the portal of the Church of San
Lorenzo, and its central patio fashioned after that of the old mint
at Potosi. It is Indian in the curious carved work of the facade
and the monoliths flanking the entrance, both being exact copies
of ceremonial temple stones from the lake region of Bolivia. The
building was designed by Dr. Calderon of the Bolivian Commission
and Albert Farr of San Francisco.

Tropical plants and fruits are shown in the brick-paved patio.
The rooms in the interior include a moving-picture theater, an art
gallery and museum, with pictures by Bolivian artists, and relics
of the civilization of the Incas. The national exhibits are shown
in the Exposition palaces.

CANADA. — The Canadian Pavilion is the largest of the foreign
buildings, and the best example at the Exposition of business-
like advertising by a government. (P. 148.) Planned by a per-
manent commission which has had fifteen years of exposition
experience, the Canadian exhibit, down to the last detail, is de-
signed to advertise the country. Even the site, at the junction of
the highways leading to the Live-Stock Section, was chosen to get
the largest number of the kind of visitors Canada is most anxious
to greet. The architects were Humphreys, Limited, of London.

Architecturally, the building is mixed classic, finished in the
Exposition travertine. The maple leaf of Canada appears in me-
dallions on the walls, the royal arms of Britain over the entrances,
and the British lion on either side of the approaches. Canada's
entire exhibit is here. Her commission cares nothing for awards,
but is concerned solely with attracting settlers and capital.

With this in view, the chief feature of the display consists of
Canadian landscapes, illustrating the agricultural, lumbering,
mining, and shipping interests of British North America. The
scenes are set to produce a remarkable perspective. The beholder
seems to stand on rising ground, looking away over miles of
country. In each view the foreground is enlivened with real
water and either living or moving things. There is a panorama of
the great wheat fields bordering on Lake Superior. Trains move
from grain elevators in the interior to the docks on the lake, where
model steamers ply on real water. Electricity supplies the power.

PAVILION OF THE NETHERLANDS, gay with towers and flagstaffs, embodies
recent ideas in Dutch architecture. It was designed by K. Kromhout, of
Amsterdam.

THE FRENCH PAVILION, by Henri Guillaume, of Paris, is a reproduction of
the Palace of the Legion of Honor.

( P. 157 )

'THE THINKER," by Augusts Rodin, in the court of the French Pavilion. A colossal
bronze figure of primitive man struggling with the mysteries of Creation.

( P. 158 )

A COURT IN THE ITALIAN PAVILION. This fascinating group of buildings beau-
tifully recalls in its antique architecture some of the most celebrated palaces of
the Italian Renaissance.

( P. 159 )

W c

o "5

O .2

CANADA'S SPLENDID DISPLAY 161

The largest scene of all is of Canada as it was and as it is. The
foreground represents the North, when the Indian and the game
had it to themselves. In the background the visitor looks for miles
down a broad Canadian valley filled with wheat fields and pleas-
ant farms. Canada's wild life is represented in the foreground
by splendid stuffed specimens, from the bear and the moose and
the musk-ox to the marten and the muskrat, and from the great
gray honker to the humming-bird. On the right, in a forest scene,
is a beaver pond with dam and house, where the real beavers
splash in the water. On the left of the scene, where a cascade
tumbles into it, is a pool of Canadian trout, maintained in the
wonted chill of their native waters by an ice-making plant under
the scenery. Canada hopes to draw wealthy sportsmen and vaca-
tionists, who will then see for themselves the opportunities for
investment. Some of her largest enterprises have begun thus.

The Canadian Pavilion makes no provision for social functions,
but it is an attractive place, where everyone is welcomed. By com-
mon consent Canada has made the most effective exhibit of its
kind at the Exposition.

CENTRAL AMERICA. — Guatemala, Honduras and Panama have
each erected pavilions characteristic of Central American archi-
tecture. The Guatemalan Pavilion houses a display of the prod-
ucts of the forests, fields, and mines of the country, with coffee
as its most notable exhibit. A native marimba band playing Gua-
temalan airs makes complete the Central American spirit of this
pavilion. The Pavilion of Honduras, which might have been
brought entire from Central America by a genie, contains a display
of laces, woven hats, tropic ferns and flowers.

CHINA. — The Imperial Audience Hall of the Forbidden City at
Peking is reproduced in miniature in the three government build-
ings of the Chinese compound at the Exposition. The central
pavilion is modeled after the great hall where for three centuries
the Manchu emperors gave audiences. The two flanking structures,
both alike, are copies of the buildings where court officials and
the delegations awaited the coming of the Son of Heaven to the
throne room. The pagoda and the tower at the left and right of
the entrance are likewise copies of structures in the Forbidden
City. All the buildings were constructed by native artisans,
brought over from China for the purpose. The flag of the Republic
floats from the tower, its colors from top to bottom standing in
order for Manchuria, South China, Tibet, and Mongolia. The
ancient dragon is absent, banished by the spirit of New China.

Within the three government pavilions are magnificent carv-
ings, vases and lacquered furniture, old prints and paintings on

162 THE JEWEL CITY

silk. The priceless collection of the latter, shown here and in the
Chinese section of the Fine Arts Palace, is the finest in the world,
the property of a Chinese collector. Its pictures are a complete
representation of Chinese painting for more than a thousand
years. China is represented by exhibits in all the Exposition pal-
aces, the most extensive participation by any foreign country.

CUBA. — The Cuban Pavilion, designed by Francisco Centurion,
is a good example of Spanish-American architecture. It is dis-
tinguished by a square tower at one corner, a wide portico, roof
of Spanish tile, and a central patio, designed for receptions. On
the second floor is a great ballroom approached by a splendid
stairway in the old Spanish style. Cuba's most striking exhibit at
the Exposition is the display of tropical plants and flowers in the
Palace of Horticulture.

DENMARK. — Denmark, like the two other Scandinavian coun-
tries, has made her pavilion characteristic of her own national
architecture. Though not in any sense a reproduction, the build-
ing finds its motive in Hamlet's Castle of Kronberg at Elsinore. The
architect has softened the grimness and bulk of the ancient fort-
ress into a pleasing building, that has the spirit of the gray land by
the German Ocean, and the solid character of the Danes. The dim
past appears in the great gravestones on the grounds, copies of
monuments on ancient Danish barrows.

In the entrance is a tiled lobby, with the information bureau.
Beyond is the "Garden Room," so styled because of its exquisite
furnishings and abundance of cut flowers. To the left is a recep-
tion room, done in massive Danish decoration, with Danish woods
and Danish furniture. A handsome cabinet of mahogany and ham-
mered silver is its most striking piece. Other rooms also contain
wonderful antique furniture. An assembly room with a raised
dais, and mural decorations suggestive of Danish industry and
commerce, is in the northeast corner. The building contains a
number of paintings by Danish masters that are of great interest
and value.

Funds for this pavilion were contributed by Danish residents
of California. The Danish Government supplied the furnishings.
No commercial displays are in the building.

FRANCE. — The Pavilion of France is a replica of the eighteenth-
century home of the Prince de Salm, at Paris, now and for more
than a century the Palace of the Legion of Honor. (P. 157.) The
original building, in the soberer mode of the French Renaissance,
was of Caen stone, the effect of which has been reproduced in the
present construction. The erection of this pavilion marks a rec-
ord in work of such magnitude. On the outbreak of the war, all

TREASURES OF ART IN FRENCH PAVILION 163

thought of participating in the Exposition was dropped; but later
the American ambassador, Mr. Herrick, succeeded in persuading
the French Government to reconsider its decision. The plans were
cabled from Paris, at a cost of $10,000, and the structure was com-
pleted in sixty days.

More notable than the building itself, or its priceless contents,
is the fact that these are here. That, in the midst of war and its
demands, France should still find time for the ideal, and for this
beautiful tribute to the long-standing friendship between the two
countries, is a demonstration of French spirit and of French cul-
ture that will not escape the attention of any thoughtful American.
For France herself, as it has well been said, her appearance here
means as much as a victory on the battlefield.

The French Pavilion is a dignified and impressive structure, as
those who recall the Legion of Honor Palace in Paris will under-
stand. The entrance to the court is a triumphal arch flanked by
double rows of Ionic columns on either side, with figures of Fame
as spandrels. The arch is connected by lateral peristyles with the
wings of the pavilion, the attics of which are adorned with bas
reliefs. Ionic colonnades extend along the sides of the court to
the principal front of the building, which is decorated with six
Corinthian columns, forming a portico for the main entrance. The
portal opens on a stage, above which a great central hall, flanked
by lesser halls, extends back through the palace.

But the glory of the building is in its exhibits. France poured
out the treasures of the Louvre, the Luxembourg and the National
Museum to adorn this pavilion. Fine as is the exhibit in the French
section of the Palace of Fine Arts, the best pictures and sculptures
are shown here. In the Court of Honor stands the masterpiece of
the master sculptor of modern times, "The Thinker," by Auguste
Rodin. (P. 158.) In the galleries are his "John the Baptist" and
other important bronzes. Vast, unique and of the greatest interest
is Theodore Riviere's wonderful group in bronze representing a
triumphant band of desert soldiers dragging captive the Moroccan
pretender, secured in an iron cage. There, too, are splendid paint-
ings by Monet, Meissonier, Detaille, de Neuville, and many other
French artists approved by time. Magnificent old tapestries adorn
the walls of the great hall, with modern hangings on the entrance
stage. Two shrines hold relics of Lafayette and Rochambeau, sent
by their descendants; and busts of Washington and Franklin stand
on either side of the heroic figure of France at the entrance.

French manufacturers have sent here those commercial articles
which French taste elevates almost to the standards of Art. Exquis-
ite products of the jeweler, the perfumer, the milliner and the cos-

164 THE JEWEL CITY

turner, with fine fabrics that make France famous, are shown in
the wings beside the Court of Honor. But the greater part of the
French industrial exhibits are in the Exposition palaces.

BELGIUM also finds her place in the French pavilion, with an
exhibit of great interest, including many admirable modern paint-
ings, fine panoramas of Antwerp, Ghent and Bruges, and a collec-
tion of rare old laces that will delight the heart of every woman.

GREECE. — The Greek Pavilion represents the latest addition of
a foreign nation to the Exposition family. The building was begun
by the Kali Syndikat, a German corporation, forced by the war to
abandon its undertaking. In April, 1915, the Greek government
bought the building and finished it in classic style. Its exhibits
include two hundred and fifty replicas of the most famous of
ancient Grecian sculptures.

ITALY. — Though other countries have built pavilions charac-
teristic of their soil and people, or have lavished their money on
splendid examples of exposition architecture, it has remained for
Italy to present in a single group a summary of the best that art
has produced in a national history of two thousand years. (P. 159.)
The Italian Pavilion does not attempt to reproduce any one archi-
tectural masterpiece. It echoes many. Therein is the triumph of
the architect. Without copying, Piacentini has suggested in this
building much that is famous in the architecture of Florence,
Venice, and Rome. It is itself a masterpiece.

The Italian Pavilion is an irregular group of seven structures,
all connected by arcades except the last building to the east, a
moving-picture hall. The main entrance is at the west, where a
broad low flight of steps leads up to a plaza between two tall build-
ings irregularly placed. That on the right, in Fifteenth Century
style, contains the offices of the Commission. The hall on the left,
reminiscent of the Bargello, is devoted to a splendid collection of
antique Roman, Grecian, and Italian art, shown by Signor Canessa.
On either side of the entrance is a Roman "Discus Thrower" in
bronze. The Bargello hall is connected by an arcade with a square
Etruscan tower, which in turn is similarly joined with other build-
ings that close the plaza on the east. In the rectangle between the
two parallel buildings on the east, is a beautiful peristyled Vene-
tian court, adorned with bronzes and marbles copied from orig-
inals in the Museum of Naples. In the center is a reproduction in
stone and bronze of the well of the Palace of Campo San Giovanni
e Paolo at Venice.

Of the two parallel buildings on either side of this court, the
southern one is a Florentine structure containing a single hall
devoted to purely governmental exhibits. The Tribuna between

ITALY REPRODUCES HISTORIC PALACES 165

the two is the sanctuary of the pavilion, containing the portraits
of King Victor Emmanuel and Queen Margherita, and portraits
and relics of the great of Italy, explorers from Columbus to the
Duke of the Abruzzi, scientists like Galileo, Galvani, Volta and Mar-
coni, statesmen like Mazzini, and soldiers like Garibaldi. The other
principal hall contains a series of rooms representing the cities of
Italy during the Renaissance. First from the east is a reproduction
of the Fifteenth Century library of the sacristy of the Church of
Santa Maria alle Grazie at Milan, a chamber of beautiful armoires
of carved wood, with panels painted with sacred pictures in col-
ors. Next is a Neapolitan room, filled with reproductions in bronze
and silver and marble of the Pompeiian treasures of the Museums
of Naples and Rome. Then comes the Florentine Room, furnished
in Fifteenth Century style with carved and inlaid wood, and
adorned with copies of the best bronzes and marbles of the great
mediaeval city. There is also a dining room in Fourteenth Cen-
tury Florentine style, and then comes, at the western end, the
Royal Salon, a magnificent hall with ceilings in blue and gold, and
murals by Pieretto and Bruno Ferrari.

All the art works of the mediaeval rooms are copies of orig-
inals, but in the Bargello Hall, Signor Canessa, who was J. P. Mor-
gan's European agent, shows his collection of veritable Italian and
ancient art. Here are many things familiar through books, Michel-
angelo's bust of the Virgin; a cabinet full of reliquaries and pro-
fane vessels in crystal, gold and enamel done by Benvenuto Cellini;
the bronze Bacchante with silver eyes which was dug up in the
gardens of the Persian embassy at Stamboul, and which dates from
the Third Century B. C.; the famous portrait bust in rock-crystal
of an Egyptian king of the Eighteenth Dynasty; madonnas and
saints by Fifteenth Century painters; a complete garden set, foun-
tain, statues and all, from a Pompeiian villa; Greek bronze and sil-
ver vessels and statuettes; Bernini's bust of the Cardinal de Medici;
Fifteenth Century tapestries, and so many other objects of mediae-
val and ancient art that a spceial catalogue has been prepared to
describe them.

Italy's modern painting and sculpture are well represented in
the Palace of Fine Arts, and her industrial and commercial exhibits
are in the other palaces.

JAPAN. — Japan has chosen her temple and palace gardens as
the types to represent her at the Exposition. (P. 169.) She dug
up the Mikado's private garden at the end of the sacred Red Bridge
in Nikko, trees, shrine, rocks, greensward and soil, and set it down
again on the Exposition grounds. So doing, she has shown the
Western world a lesson in the beauty of simplicity. The central

166 THE JEWEL CITY

building in this charming garden is a copy, enlarged, of the
Golden Pavilion of the Roku-on-ji Temple in the city of Nara. It
is of plain wood and lacquer, with interior walls and ceiling
entirely covered with gold leaf. The office building joined to the
temple was suggested by the shrine of the ancient castle of Fu-
shimi. The exhibit building north of this temple houses a com-
plete and remarkably beautiful fac-simile of the famous temple
at Nikko, one of the finest in Japan. The Mikado's private col-
lection of Japanese art, never before opened to the public, even
in Japan, is placed in the Japanese section of the Fine Arts
Palace. The paintings, scrolls, porcelain, satsuma ware, sculp-
tures and metal work shown in this very noteworthy exhibit
were collected by the late Emperor Mutsuhito.

One of the tea houses is an exhibit of the Central Tea Traders'
Association, the other one by the Formosan Government. The
striking features of the gardens, beside the stream and the lakelet,
are the dwarfed conifers, priceless trees. Two of them are the
products of ten centuries of systematic pinching back. With them
are three sago palms, five hundred years old. Scattered throughout
the gardens are stone lanterns. Every plant, every bit of turf,
every stone in the bed of the stream even, came from Nippon.

Japan is one of the largest exhibitors in the Exposition. Her
displays, shown in every palace except Machinery, are an amaz-
ing demonstration of the degree to which she has entered the
trade of the world.

THE NETHERLANDS.— In its domed pavilion, gay with many
bannered staffs, the Netherlands has achieved one of the most
striking buildings in the foreign section. (P. 157.) Its architecture
is not representative of the traditional Dutch style but fulfills the
modern ideas of the present-day school of builders in Holland.
Most prominent is the clock tower, where a bell rings the hours.

Within, the pavilion presents Holland as one of the great colo-
nial nations. Roughly, it has three divisions, devoted to the mother
country, the Dutch East Indies, and the Dutch West Indies, in each
of which industry and commerce is pictured in dioramas and
exemplified by displays of products. Dutch girls in national cos-
tume serve visitors in the refreshment room.

Holland's most noteworthy exhibits are those made by the
Board of Horticulture of the Netherlands in the gardens of the Pal-
ace of Horticulture, and her pictures in the Palace of Fine Arts.
Holland sent to San Francisco ten carloads of rhododendrons, con-
ifers, and bulbs. To install them she sent Mynheer Arie Van Vliet,
the landscape engineer of the Peace Palace at The Hague. Her
industrial exhibits are in the Exposition palaces.

NOTABLE SCANDINAVIAN STRUCTURES 167

NEW ZEALAND. — The New Zealand Pavilion is of mixed
French and Italian styles. It was designed by Lewis P. Hobart
of San Francisco, in collaboration with Commissioner Edmund
Clifton. While it contains a representative display of the chief
products of the youngest of the Dominions, the main exhibits are
in the Palaces of Mines, Agriculture, and Food Products.

NORWAY. — Norway, like Sweden and Denmark, has succeeded
admirably in reproducing its national spirit in its pavilion. The
building is a long story-and-a-half structure, in the ancient Norse
style, dominated by a beautiful tower on which is emblazoned the
Norwegian coat-of-arms. The lower floor contains three large dio-
ramas of characteristic Norwegian scenery, and an exhibit hall
wherein are shown products of the industries of Norway, espe-
cially her great maritime activities. As in the case of the other two
Scandinavian countries, the sons of Norway in California built the
pavilion, while the Norse Government provided the exhibits.

PORTUGAL.— A sign of the glorious past, when Henry the Navi-
gator made his country a great sea power with colonies around
the globe, appears in the knotted cable that binds Portugal's Pavil-
ion. The fantastic architecture of this little palace is also historic-
ally significant, for it was adapted from that of the Cathedral of
Jeronymos, the Convents of Thomar and Batalha, and the Tower
of Belem, built in celebration of Portugal's golden age of discovery.
The style is known as the Manuelino. Antonio do Couto of Lisbon
was the architect, assisted by the sculptor, Mota Sobrinho. The
building has a local significance in California, where thousands of
Portuguese have settled. In the pavilion is a display of laces,
inlaid articles and wickerwork, exhibits which are repeated in
greater variety and with other products in the Exposition palaces.
The walls are beautified with a series of very remarkable photo-
graphs of famous Portuguese cathedrals.

SIAM. — The Siamese Pavilion is a perfect example of the archi-
tecture of the Far East. It reproduces a pavilion on the palace
grounds at Bangkok. It was first built there by native workmen,
taken apart in sections and shipped to San Francisco to be set up
on the Exposition grounds. Teak, sandal-wood and other rare
Asiatic timbers are used in its construction. Hammered metal
work, carved ivory, and tapestries form its interior decorations;
but, in striking contrast to its ancient art and spirit, the building is
a moving-picture palace where Siam's life and industry is shown.

SWEDEN. — Sweden has delighted everybody with her pavilion,
a building finely representative of the people who built it, and
with her industrial exhibit as well. (P. 160.) The pavilion com-
bines the best in Swedish ecclesiastical and domestic architecture,

168 THE JEWEL CITY

the church tower and the gabled hall near the center, dwelling-
house types at the ends. It was designed by Ferdinand Boberg, a
noted leader in Swedish art.

The building is almost entirely filled with exhibits of Swedish
industry, a presentation as good in its way as Canada's splendid
picture of her great, hardly touched resources. The Swedish steel
works have sent numerous models of locomotives, steamships, and
machinery, and full-sized samples of smaller products. The gov-
ernment has furnished models of docks and bridges, of buildings
and other engineering works. The familiar Swedish matches are
here in pyramids. There are rooms furnished by Swedish arti-
sans in birch and oak, with chandeliers of hammered iron, carpets
from Swedish looms, and fine ceramics from the Swedish potteries.
Other exhibits are in the Exposition palaces. In art, the Swedish
collection in the Palace of Fine Arts is perhaps the most distinc-
tive display made by a foreign nation.

Sweden's part in the Exposition was made possible by the
Swedish citizens of California, who gave the funds for the pavil-
ion, while the home government provided for the installation of
the exhibits.

TURKEY.— The Turkish Pavilion supplies the one touch of
Islam in the foreign section. The Ottoman building is a copy of
the palace of Sultan Ahmed I at Stamboul, the summer home of
the present Sultan. Within the pavilion is a ballroom, cafe, and
lounging rooms. But the interest of the building, and of the
little mosque behind it, as examples of Turkish architecture, is
entirely overshadowed by the wonderful collection of rare rugs,
beautiful brasses and carvings, and rich inlaid and jeweled orna-
ments, all part of the Sultan's treasures, and valued at $1,500,000.

THE ARGENTINE PAVILION, by Sauze, of Buenos Aires, is a notable example of
festival architecture, as attractive within as without.

THE JAPANESE PAVILION AND GARDENS. These are noteworthy reproduc-
tions of famous temples, and of the Mikado's private garden in Nikko.

( P. 169 )

5 I

XVII.
THE STATE BUILDINGS

A section full of historical and architectural interest — Many not-
able buildings simply furnish State headquarters, others con-
tain important exhibits — California's great Mission structure —
The remarkable display of her counties — New York's stately
palace — Oregon's timbered Parthenon — Interesting chapters
in American history told by the houses of Massachusetts, Vir-
ginia, Pennsylvania, Maryland and New Jersey — Fine build-
ings of the Western States — Attractive pavilions of the Phil-
ippines and Hawaii.

JHE state buildings at the Exposition fall naturally into
three groups: those that reproduce or suggest histor-
ical structures, those characteristic in some way of
their builders, and those that express the importance
of their states by dignified architecture and significant
exhibits. The richer the history of the state, the more likely its
building is to reflect its past. Several states which possess famous
historical buildings, such as Mount Vernon or Independence Hall,
have either copied them or used their motives in the Exposition
structures. Twenty-seven states, the Territory of Hawaii, and the
Philippine Islands, are represented by twenty-eight buildings.

THE CALIFORNIA BUILDING, Thomas H. Burditt of San Fran-
cisco, architect, by far the largest state building ever erected at
any exposition, is an exceedingly happy treatment of the Mission
style. (See p. 179.) Its commanding tower is better than any-
thing ever done by the padres in California. From its facade, Fray
Junipero Serra looks out over a charming garden, which, more
than anything else, invests this building with the real spirit of Cal-
ifornia. It is a reproduction, even to the fountain, the pepper trees,
and the old fashioned flowers, of the private garden of the Santa
Barbara Mission, a spot where no woman treads. From this gar-
den, enclosed by walls of clipped Monterey cypress, one looks at
the tower and is at once translated to Southern California.

This building covers five acres, and is worthy to be ranked with
the Exposition palaces. Under the tower is a fine vaulted loge and
a reception room, both opening into a splendid balconied ball-
room behind, all finished in the Exposition travertine. The walls
of the reception room are hung with magnificent tapestries, loaned
by Mrs. Phoebe A. Hearst. The west wing contains the adminis-
trative offices of the Exposition and the Woman's Board, and the
directors' club rooms. The large eastern wing is entirely filled

172 THE JEWEL CITY

with the displays of the fifty-eight California counties. (P. 182.)
These together form one of the most noteworthy exhibits in the
entire Exposition. They demonstrate the fact that a multitude of
other resources besides her gold entitle California to be called "the
Golden State."

THE OREGON BUILDING, Foulkes and Hogue of Portland,
architects, imitates, though it does not reproduce, the Parthenon of
the Athenian Acropolis. (P. 191.) Doric marble is replaced by
the natural columns of the great trees of Oregon, and the frieze of
Phidias, by the fretwork of the bark of pine and fir. There are
forty-eight of the great columns, the same number as in the outer
colonnade of the Parthenon, and, coincidentally, one for each
State of the Union. They were cut from among the largest of trees.
The Douglas fir, next to the redwood and the sequoia the most mas-
sive of living things, furnished most of them. But the largest hap-
pen to be the two giant incense cedars, which stand on either side
of the main entrance. These are eight feet and ten inches in dia-
meter. Then there are two columns on the south side, both cut
from a spruce that was four feet seven inches through at 101 feet
above the ground.

In exterior proportions the building reproduces the Parthenon,
but the Parthenon had a double row of columns around its porch,
the Oregon temple has but a single row. In size it is considerably
larger than the Partheon. The great flagpole is a single stick of
Douglas fir, 251 feet long, set in a 200-ton block of concrete. The
building contains an excellent exhibit of Oregon's resources.

THE WASHINGTON BUILDING, A. F. Heide of San Francisco,
architect, is a striking example of the French Renaissance. (P. 191.)
Unlike most of the state buildings, it is used largely for the exhibi-
tion of home products. Its motion pictures, its group of wild life,
and its displays of agriculture, mining, forestry and fisheries, are
all designed to advertise the remarkable scenery and resources of
the Evergreen State. Washington is an important exhibitor in the
Palaces of Horticulture, Agriculture, Food Products, Mines and
Education.

THE NEW YORK STATE BUILDING is, next to that of Cali-
fornia, the largest structure erected by any state. (P. 170.) It is
in every way a dignified and noteworthy example of the best mod-
ern civic architecture. Charles B. Meyers, of New York City, was
the architect. The building is finished in plastic travertine. A
magnificent entrance opens upon a wide central corridor. An
assembly room, intended for the use of New York organizations,
and a restaurant, pierce the second story. The other rooms on the
first floor are devoted to the reception and convenience of New

COLONIAL TYPES IN STATE BUILDINGS 173

York visitors. On the other floors are the offices and apartments
of the Commission, with a special suite for the Governor of
the State. New York's official exhibits are in the several exhibit
palaces.

THE NEW YORK CITY BUILDING, Bertram G. Goodhue, of
New York, architect, is the only municipal building at the Expo-
sition. It is a simple classic structure, housing an extensive dis-
play intended to demonstrate and promote municipal efficiency.
Its exhibits, — maps, models, photographs and charts, — admirably
illustrate all sides of city government.

THE MASSACHUSETTS BUILDING, planned by Wells and
Dana, of Boston, is a fac-simile reproduction of the Bulfinch front
of the Massachusetts State House on a scale of two-thirds. (P. 181.)
Within, as well as without, it is of commanding interest to every
American. Its rooms are furnished with veritable colonial furni-
ture. The club room to the right of the entrance hall is done in
Jacobean style, the reception room opposite shows fine copies of
Chippendale, Sheraton, Hepplewhite and Adams originals, and is
hung with a long series of historic portraits, lent by Massachusetts
families and the State Historical Society. On the second floor is a
room filled with genuine old furniture by the most famous makers,
fine colonial mirrors, and a Willard clock. The Governor's suite
and the Commissioners' rooms are furnished with exquisite copies
of colonial models.

THE PENNSYLVANIA BUILDING, Henry Hornbostel, of Pitts-
burgh, architect. This interesting structure is reminiscent of Inde-
pendence Hall, Philadelphia, though it is not a reproduction of the
Cradle of Liberty. (P. 181.) Its plan was dictated by the neces-
sity of a fireproof structure in which to house the Liberty Bell at
the Exposition. Consequently, it is the solidest and most enduring
of the state buildings. Besides the Bell, which is placed in the
loggia, its most striking feature is the two fine mural paintings
under the attic, from the brush of Edward Trumbull, of Pittsburgh,
one representing Penn's Treaty with the Indians, and the other
Pittsburgh Industries.

THE NEW JERSEY BUILDING, Hugh Roberts, of Jersey City,
architect, like those of Pennsylvania and Virginia, tells of the days
of the Revolution. It is a copy of the old Trenton barracks, erected
in 1758, and used alternately by British and Colonial troops during
the Revolution. Within, its simple and comfortable appointments
make it one of the most popular of the state buildings. A large
lounge with blazing fireplaces, and furnished in white reed, occu-
pies the entire central section. In the east wing are the offices
and rooms of the Commission. The west wing contains the lobby

174 THE JEWEL CITY

and a reception room in which hang two large marines painted by
N. Hagerup, of San Francisco. As the building is to be President
Wilson's headquarters if he comes to the Exposition, a splendid
suite, corresponding with the rooms occupied by General Wash-
ington, has been furnished and reserved for him.

THE MARYLAND BUILDING, designed by Thomas, Parker and
Rice, of Baltimore, presents a fascinating study of colonial archi-
tecture in its reproduction of "Homewood," built by Charles Car-
roll of Carrollton in 1802. The present aspect of "Homewood" has
been imitated in appearance of age given to the brickwork and the
timbering. The contents of the building are no less delightful,
historically, than the structure itself. The Colonial Dames of
America have enriched the walls with original portraits of colo-
nial celebrities, old prints, original grants by the Baltimores, and
many historical documents and relics. Colonial furniture adorns
the rooms. Few of the state buildings will so well repay a visit.

THE VIRGINIA BUILDING, Charles K. Bryant, of Richmond,
architect, is as significant historically as any on the grounds.
It is a complete reproduction of George Washington's home at
Mount Vernon, down to the spinning room, the detached kitchen
and the servants' quarters, and furnished in part with Washing-
ton's own furniture loaned by Miss Nannie Randolph Heth, of
Virginia, the official hostess of the building. There is Washing-
ton's chair, Mrs. Washington's work box, Nellie Custis' music
stand, and many other relics of the Father of his Country. The
remaining furniture, also loaned by Miss Heth, consists of antique
specimens brought over from England in colonial days.

THE WEST VIRGINIA BUILDING, designed by H. Rus Warne,
of Charleston, W. Va., while not copying any individual structure,
suggests well-known colonial types. Its veranda, in particular,
is like that of the home of the Lees at Arlington. The chief room
is the long reception hall, where logs always burn in a huge fire-
place, typifying the warmth of West Virginian hospitality.

THE MISSISSIPPI BUILDING, Overstreet and Spencer, of
Jackson, architects, was designed to suggest the old-style South-
ern mansions. Some of its motives, especially the pillared
portico, were taken from the old capitol building at Jackson.
The displays contained in it are chiefly agricultural. Mississippi
is also represented in the Exposition palaces.

THE OHIO BUILDING, designed by Albert Pretzinger, of
Dayton, is a copy, on a smaller scale, of the classic State House at
Columbus. Containing no exhibits except the relics shown by the
State Historical Society, the building serves the social side of
Ohio's participation in the Exposition. Its upper floor is en-

STATES OF THE MIDDLE WEST 175

tirely occupied by suites for the Governor and the Commissioners.

THE INDIANA BUILDING, designed by J. F. Johnson, of
Indianapolis, represents a type of modern Hoosier dwellings.
It is of permanent construction, of sandstone and brick with a
tiled roof, and unique in the fact that all of the materials used
and all the furnishings are Indiana products. State pride appears
again in the library of 15,000 volumes, confined entirely to the
works of Indiana authors and books about Indiana. In addition
to the building, which is wholly an exhibit, Indiana is well repre-
sented in the Exposition palaces.

THE ILLINOIS BUILDING, designed by State Architect James
Di Belka, of Chicago, is perhaps the best exhibit of the State at
the Exposition. (P. 180.) It is a dignified three-story structure
of the Italian Renaissance. The sculptured tablets of the facades
represent the history and progress of Illinois. The exhibits within
are of unusual interest. The Lincoln Memorial Room, made pos-
sible by Mrs. Jessie Palmer Weber, contains a great collection of
photographs, letters and relics of Lincoln, and many articles con-
nected with his life. The valuable series of films prepared by
the Chicago City Planning Commission is shown in the moving-
picture hall. This building contains a fine pipe organ on which
frequent recitals are given.

THE WISCONSIN BUILDING, designed by R. A. Messmer &
Co., Milwaukee, in the colonial style with wide porticoes, con-
tains one of the State's best exhibits in its interior finish of fine
Wisconsin hardwoods. The floors are all of maple and the
paneled wall of birch. "Old Abe," the famous Wisconsin war
eagle, stands above the main entrance. Over the fireplace in the
reception room is a panel in relief, "The Progress of Wisconsin."
The building is used a headquarters for Wisconsin visitors.

THE IOWA BUILDING, Clinton P. Shockley, of Waterloo, la.,
architect, is a classic structure, finished, like most of the state
buildings, in the Exposition travertine. It does credit to the
public spirit of Iowa business men, who, in default of a legisla-
tive appropriation, supplied the funds.

THE MISSOURI BUILDING, designed by H. H. Hohenchild, of
St. Louis, is a structure of real distinction in the Georgian style.
(P. 180.) It copies no Missouri building, and is historical only
in its pleasant combination of architectural features much used
in early days. The building is of permanent construction and
after the Exposition closes is to be turned over to the Government
as a club house for the army, — this as a compliment to Major-
General Arthur Murray, who, like so many other eminent Ameri-
cans, hails from Pike County. The Missouri Home, as it is called,

176 THE JEWEL CITY

is used as a gathering place for visiting Missourians, and for the
strong Missouri Society of California.

THE KANSAS BUILDING, Charles Chandler, of Topeka, archi-
tect, is a pavilion in the style of the Italian Renaissance. It is a
club house, devoted solely to the comfort and entertainment of
visitors. Strong exhibits are made by the state in the palaces of
Agriculture, Horticulture, Food Products, Education, and in the
Live-Stock Section.

THE ARKANSAS-OKLAHOMA BUILDING, designed by George
R. Mann, of Little Rock, was built and furnished by private sub-
scriptions by citizens of the two states. It is a roomy bungalow
designed for the convenience of visitors from Arkansas and
Oklahoma, and exhibits some of their products.

THE TEXAS BUILDING, Page and Brothers, Austin, archi-
tects, is a pleasing example of Mexican architecture as dis-
tinguished from the California Mission style. It suggests the
Alamo, and bears the Lone Star pierced through its raised cornice.
Within is a patio, reached by broad entrances from the verandas
at front and rear. A motion-picture hall, a ballroom, offices and
rest rooms occupy the greater part of the building. The state
exhibits are in the Exposition palaces.

THE NORTH DAKOTA BUILDING, Joseph B. De Remer, for-
merly of Grand Forks, now of Los Angeles, architect, owes its
unique ground-plan to a three-cornered lot. That it is a pleasing
structure is witnessed by several dwelling houses now being
built in California after its plans. The building is French in style,
treated in a simple manner. It contains interesting exhibits of
the products of the Northern State, including a noteworthy display
of pottery made at the University of North Dakota, an institution
which devotes much of its effort to promoting state industries.

THE MONTANA BUILDING, Carl Nuese, San Francisco, archi-
tect, is one of the group of classic structures finished in plastic
travertine. The only display made in the building, which serves
as a social center for visitors from Montana, is a school exhibit.
The State is, however, largely represented in the Palaces of Mines,
Agriculture and Horticulture.

THE IDAHO BUILDING, Wayland and Fennell, of Boise, archi-
tects, was the first state structure completed at the Exposition.
It is built in the manner of the Italian Renaissance and looks out
over the bay. Like most buildings of the Western states, it is
equipped with a moving-picture theatre, as well as rooms for
visitors. Idaho's exhibits are chiefly in the Exposition palaces.

THE NEVADA BUILDING, designed by F. J. De Longchamps,
of Carson, is another structure in the style of the French Renais-

THE PACIFIC ISLES REPRESENTED 177

sance. It is the headquarters of the Nevada Society of California
and of visitors from the Sagebrush State. Nevada has important
exhibits in several palaces.

THE UTAH BUILDING, Cannon and Fetzer, of Salt Lake, archi-
tects, is a classic structure with deep porticoed front. All its fur-
niture is an exhibit, made by the pupils of the manual training
department of the Utah schools. The building contains interesting
models of copper and gold mines, and an exhibit of the processes
of salt-making, displays of building-stone, grains and grasses, and
collections from the cliff dwellings. Other exhibits are in the
Palaces of Mines, Education and Horticulture.

THE HAWAIIAN BUILDING, C. W. Dickey, of Oakland, archi-
tect, excellently represents the Pacific isles. In style it is French
Renaissance, built with a half rotunda at the rear to accommodate
a semi-circular aquarium. In the center of the main hall is a
clump of palms and tree ferns, and native singers give the island
touch. The aquarium contains a wonderful collection of the many-
hued fish of the South Seas. Interesting displays of native cabinet
woods are made in the finish of the offices. Though small, the
Hawaiian building has proved one of the most popular.

THE PHILIPPINES PAVILION, designed by the Bureau of
Architecture, is one of the Exposition places which no one should
miss. It marks the creation of an original style of exposition
building. It is Filipino in all its motives. Its groups of four
columns suggest the four essential posts of native hut construc-
tion; the broad roofs are tiled; the windows are not glass, but of
thin shell, the common material used in the islands; the walls are
finished in split bamboo matting. The same style of construction
is used also in all the Philippine booths in the palaces. The ma-
terials are used with restrained taste, and this, with the mag-
nificent cabinet woods employed throughout the construction, has
resulted in a beautiful building. It is a little hard to realize the
richness of the woods used here. The very floors in the pavilion
and the booths are good enough to make piano cases of. The
central portion, upstairs and down, is floored, wainscoted and
ceiled with the costliest of timber. The two offices to right and
left of the main entrance are finished in a beautiful, hard, heavy
rosewood, called narra, the one to the right in yellow narra, that
on the left in red narra. The stairway is of a magnificent, richly
figured, claret-red hardwood called tindalo, the favorite material
for such construction in the islands. The panels of its wains-
coting and the balusters are of a dark velvety epil, so dark and
so glossy in some places that it looks almost like agate. All the
columns are natural trunks of the palma brava.

XVIII.
THE LIVE-STOCK EXHIBIT

The first Exposition to offer a live-stock exhibit covering its entire
period — Prizes total $440,000 — Classification of competitions —
New methods of displaying herds and flocks — Contests in
dairy and beef cattle — Other exhibits range from high-bred
horses, hens and she.ep down to pet rabbits, rats and mice.

OR the first time in the history of similar celebrations,
this Exposition offers a continuous live-stock show.
Other expositions have confined their live-stock ex-
hibit to a few weeks during the time of award-making.
Here, however, the show extends from the opening of
the Exposition until its closing. The competitive period extends
from September 23 to December 3. Naturally this will mark the
high tide of the display. During this time the International Jury
on Awards will distribute in cash prizes a total of $440,557. Of
this amount, $190,000 has been given by the Exposition manage-
ment, $100,327 by the breed record associations of the country,
and $150,230 by various states to be used in prizes and the trans-
portation of stock.

These attractive prizes will be distributed among the well-
established and well-known breeds of draft and light horses,
ponies, beef and dairy cattle, sheep, swine, poultry, pigeons, and
pet animals. All animals will be judged according to the rules of
recognized breed associations. Foreign or other animals not re-
corded in the books of the associations named in the premium
list will be judged by the standards of the associations to which
their exhibitors belong.

The educational value of the live-stock show for the general
public, as well as the stock breeder, has been emphasized in every
department. The increased cost of living being a dominating topic
for both producer and consumer, much attention has been cen-
tered on meat-producing animals. Liberal provision has been
made in the prize list for fat classes in beef-cattle, sheep and swine.
When the Exposition management designed the live-stock sec-
tion and planned the buildings for the various features of this
department, an effort was made to create a model arrangement for
exhibit purposes. So successful was this effort that a number of
states have requested the plans for a ground layout. This portion
of the Exposition cost the management approximately $150,000,
and covers sixty-five acres. The buildings represent, in their
equipment, the very latest development in the housing and caring

THE ILLINOIS BUILDING, planned by State Architect James B. Di Belka, of Chi-
cago, is one of the most pleasing of the State buildings done in classic style.
Its great collection of Lincoln relics attracts thousands.

THE MISSOURI BUILDING, H. H. Hohenchild, of St. Louis, architect. This is
an effective study in colonial architecture. Inside, it is an attractive club-
house for Missourians, past and present.

( P. 180 )

THE MASSACHUSETTS BUILDING, Wells and Dana, architects, is a replica, one-
third reduced, of the famous central portion of the Boston State House, de-
signed by Uulfmch. Its interior is rich in colonial furniture and portraits.

THE PENNSYLVANIA BUILDING, designed by Henry Hornbostel, of Pittsburg.
suggests, though it does not attempt to reproduce, Independence Hall. Us
loggia shelters the Liberty Bell.

( P. 181 )

THE VIEW HERDS 183

for stock. The visitor first approaches from the east a quadrangle
of eight large stables, enclosing the forum where the live-stock
shows are held. These stables have a total accommodation of
1124 horses. The forum has a seating capacity of 2680 persons.

To the north of the stable quadrangle is Congress Hall, for the
accommodation of conventions and other meetings, and containing
also the administration offices of the chief of the live-stock depart-
ment. On this side also are the corrals, feed storage barns, a
service yard, and an area for open-air exhibits. To the south is
the large dairy building, a dairy manufactures building, and the
poultry exhibit building. The dairy building houses more than
300 animals. West of the stable group is the mile racecourse with
its polo and athletic field.

One of the novel features of this show is the manner in which
the view herds and flocks are displayed. These are seen in stalls
and pens built at an angle of about forty-five degrees to permit the
visitor to get a side view of the stock. The view-herd idea in itself
is something new. These exhibits are purely educational in pur-
pose, and non-competitive. They have been on display since the
opening, and will continue until the close of the Exposition, thus
enabling the visitor to see a creditable live-stock show, no matter
at what season he may come. The view herds are selected by
competent authorities, and represent the best of their respective
breeds. Among such herds on exhibit are Shorthorn cattle, Berk-
shire swine and Percheron horses. These exhibits are changed
from time to time.

In addition to these general features, the special events include
the milk show, harness races, universal polo, wool grading, sheep-
dog trials, poultry show, and an international egg-laying contest.

For eleven classes of dairy cattle the Exposition offers awards,
as follows : Jersey, Ayrshire, Guernsey, Holstein-Friesian, Dutch-
Belted, Dairy Shorthorn, Brown Swiss, French-Canadian, Sim-
menthal, Kerry and Dexter, and Grade-Dairy Herd. This last is a
recognition on the part of the Exposition of the great utility value
of the grade-dairy cow, which forms the basis of the dairy indus-
try, and yet could not exist without the pure-bred stock. In the
beef-cattle group, the Exposition offers awards in the following
classes : Short-Horn, Hereford, Aberdeen-Angus, Galloway, Polled
Durham, Red Polled, Devon, Fat Cattle (by ages) and Car-lots.

One of the especially attractive features pertaining to the dairy
section is the exhibit of 150 high-grade Holsteins for utility pur-
poses. This herd is in full flow of milk and is maintained by a
large milk condensing plant. This exhibit, in the daily care given
these perfect specimens of dairy cattle, the yield of milk, the

184 THE JEWEL CITY

quality of feed and the appliances used, forms one of the most
attractive units in the department. An important event in this
section was the pure milk and cream contest, June 14 to 19, in
Congress Hall. City and state boards of health and the dairy divi-
sions of agricultural colleges participated in the contest. The
purpose of the event was designed to create a greater interest in
pure milk and cream. Four samples of milk and cream each were
submitted. One of these was submitted to an official bacteriologist,
a second given to the official chemist, a third displayed in Congress
Hall, and the fourth tested for its butter-fat content. Awards of
gold and silver medals and cash prizes were made in the following
classes : city boards of health, cream dealers, milk dealers, college
experiment stations, pasteurized milk, pasteurized cream, market
milk producers, certified and medical milk commissions.

In the horse exhibit the following classes are provided : Perch-
eron, Belgian, Clydesdale, Shire, Suffolk-Punch, Standard Trotter,
Thoroughbred, Saddle Horses, Morgan, Hackney, Arabian, Shet-
land Pony, Welch Pony, Roadsters, Carriage Horses, Ponies in
Harness, Draft Horses, Hunters, Jumpers, and Gaited Saddle
Horses. Among special events in this section are the follow-
ing: trot under saddle, one-mile track, one-mile military officer's
race, one-mile mounted police race, gaited saddle race of one mile,
steeple chase, hurdle race, polo pony dash, relay race of one mile,
cowboy's relay race of same length, cowgirl's relay race, six fur-
longs, saddle tandem. Exposition jumping contest and five-mile
Marathon four-in-hand. On the closing day of the Exposition
there will be a grand parade of all first and second winners,
not only in the horse display, but in all other displays in this
department.

The following dates have been set for the exhibition of stal-
lions and mares in the breeding classes in the Forum: Thursday,
September 30, — Percheron, standard trotter, Welch pony, and
Morgan; Friday, October 1, — Belgian, Thoroughbred, Hackney,
and Shetland Pony; Saturday, October 2, — Clydesdale, Saddler,
Arabian, and Suffolk-Punch; Monday, October 4, — Shire, Jacks and
Jennets, and Mules.

The exhibition of horses for awards is from Thursday, Sep-
tember 30, to Wednesday, October 13. One of the important events
of this period is the special horse show. Two other big special
events are the races and international polo tournament. The polo
tournament from March 7th to May 1st enlisted the following
teams: Cooperstown, N. Y.; Philadelphia Country Club; Midwick
Polo Club; Pasadena, Burlingame and San Mateo Clubs; Boise,
Idaho, team; Portland, Oregon, team; First Cavalry, Monterey;

MANY CLASSES OF LIVE STOCK 185

Second Division Army, Texas City, Texas; and Southern Depart-
ment Army, San Antonio, Texas.

The Exposition harness races cover two periods, one from
June 5 to June 15, and the other from October 30 to November 13.
In addition to these there will be matinee races from May 23 to
September 30. A total of $227,000 has been set aside for purses
in these races.

The poultry exhibit for award is scheduled from November
18 to 28. This is known as the Universal Poultry Show, and is
planned to be one of the largest ever held. Between 10,000 and
12,000 chickens, entered from all parts of the Union, will be in
competition. In conjunction, the American Poultry Association
meets in Congress Hall in the live-stock section. The Interna-
tional Egg-Laying Contest, extending over a period of one year
from November 15, 1914, has attracted widespread attention.
Pens of fowls have been entered in this contest from the United
States and Canada, and even distant England. Daily records are
kept of the production of each hen, and, once a month, the score
is bulletined by the live-stock department for the information of
owners.

Sheep and goats are to be judged for awards from Wednesday,
November 3, to Monday, November 15. The breeds classified are:
Shropshire, Hampshire, Cotswold, Oxford, Dorset, Southdown,
Lincoln, Cheviot, Leicester, Romney, Tunis, Rambouillet, Merino-
Ameiran, Merino-Delaine, Corriedale, Exmoor, Persian Fat-Tailed,
Karakule, and car-lots; goats, Toggenburg, Saanen, Guggisberger,
and Anglo-Nubian breeds, with the grades of each breed, and
native goats.

The exhibit of swine for awards runs between the same dates.
The eligible breeds, besides swine in car-lots, are Poland-China,
Berkshire, Duroc-Jersey, Chester White, Hampshire, Tamworth,
Mule Foot, Large Yorkshire, Large English Black, Victoria, Essex,
and Cheshire.

The scope of the live-stock department is not limited to the
material things of rural life. A Universal Kennel show is sched-
uled from November 29 to December 1. Two classes of dogs are
provided for in the awards, sporting and non-sporting. A cat
show, of long- and short-haired cats, is set for the same period
as the kennel show. Other groups of exhibits in this line are
pet stock, rabbits, hares, rats and mice, and children's pets.

XIX.
SPORTS AND GAMES; AUTOMOBILE RACES; AVIATION

Exposition contests include nearly every branch of sport —
National Championships of the A. A. U. — Two great automobile
races, the International Grand Prix and the Vanderbilt Cup,
already run — Polo and Golf — Sensational flights of the avia-
tors— The International Yachting Regatta and other aquatic
events — All-star baseball expected in the fall.

N ACCOUNT of the Exposition, and indeed, American
athletic history for the year 1915, would be incom-
plete without a description of the sports programme.
This outline of games and exhibitions includes nearly
every branch of sport familiar to the American pub-
lic, and its wide appeal has attracted many thousands to the ath-
letic fields and gymnasiums of the Exposition. Although ten
months of sport was originally intended by the atheletic com-
mittee, this period has been somewhat abbreviated by circum-
stances, though a practically continuous performance has held
sway since February 22.

International competition, at first intended in many branches
of the programme, was generally abandoned on account of the
European conflict; but the want of foreign representation has in
no way lessened the quality of competition, or dampened the at-
tractiveness of the summer contests. Some of Europe's star track
men are entered here, in spite of conditions on the continent.

Perhaps the most popular attractions of the programme are
the national championships, held every year under the auspices
of the Amateur Athletic Union. At the convention of that body
during November, 1913, prior to the death of its president, James
E. Sullivan, it was voted unanimously to award all of the organi-
zation's events, with the exception of boxing, to the Panama-
Pacific Exposition. These championships are the blue-ribbon
events of the amateur world. They include track and field games,
swimming, boxing, wrestling and indoor gymnastics. Three of
these championships were staged in San Francisco before the
opening of June.

In basket ball, the first of the national competitions, premier
honors went to a California organization, the San Francisco
Olympic Club. Next in line came gymnastics, followed by wrest-
ling. Although these sports are not immensely popular with the
athletic enthusiasts, generous galleries turned out to see the Ameri-
can champions in action.

TRACK AND FIELD SPORTS 187

The more important part of the Amateur Athletic Union pro-
gramme was scheduled for the summer months, when the track
and field championships are held. Facilities for staging these
games are ideal. The cinder path, situated at the far end of the
Exposition grounds, with unexcelled scenic advantages, is re-
puted to be the equal of any athletic stadium in the country. The
oval measures one-third of a mile to the lap, with a 220-yard
straightaway flanking the grandstand. The earlier games con-
vinced Eastern athletes that there could be no complaint against
facilities.

The senior and junior track and field championships of the
Amateur Athletic Union loom up as the banner track events of the
programme. National stars have signified their intention of par-
ticipating in these games, and it will be surprising if many
national records are not broken. In addition to these games, the
International Olympic Committee, which controls all the modern
Olympic meets, conferred upon the Exposition the right to hold
the Modern Pentathlon, this being the first time it has been con-
tested outside of the Olympic Games. In addition, America is to
have for the first time the Decathlon, and the famous Marathon
race originated in Greece centuries ago, and impressively revived
during recent years by the more important athletic bodies of
the world.

Besides the Amateur Athletic Union track and field games, an
abundance of competitions, ranging from grammar school con-
tests to collegiate struggles, was arranged. Among the first of
these, the Pacific Coast Intercollegiate Conference, was won by
the University of California from a field of collegiate teams rep-
resenting the entire Pacific Coast. Several high and grammar
school contests have attracted spectators to the stadium. One
thousand grammar school athletes entered the lists upon the Ex-
position cinder path, and staged a carnival that stands as a record
in California, and approaches any American event of its kind
both in the number of entrants and the class of competition offered.

Automobile racing, of the kind that thrills, was furnished by
the Exposition during its early weeks. Two events of inter-
national importance were run upon the Exposition grounds, and
in each instance attracted one hundred thousand spectators to
the course. The first of these was the International Grand Prix,
run in the rain and under other conditions far from ideal, over a
four-mile course for the distance of four hundred miles. Sen-
sation followed sensation in this feature, a final winner being
supplied in the swarthy Darius Resta, who drove a Peugeot car
for an average speed of fifty-six miles, 7:07:57 being his actual

188 THE JEWEL CITY

time. Other drivers of international reputation appeared in this
struggle, among them De Palma, Hughes and Wilcox. Handsome
prizes were distributed to the winners in these events.

The Vanderbilt Cup Race was staged over the same course on
March 7, and brought out an equally attractive field. Running
with the precision and dexterity that brought him home a winner
in the Grand Prix, Resta repeated his victory in the Vanderbilt
Race, coming home from his journey of three hundred miles
ahead of such stars as Burman, Pullen, Wilcox and De Palma.
Resta earned the reputation of being one of the most skilful drivers
holding the wheel in this or any other country.

For six weeks, from March to May, polo held popular sway at
the Exposition. Ten teams competed in a tournament which
offered many valuable trophies. The contests were held daily
and attracted thousands to a specially prepared turf field near
the athletic stadium. The sport furnished thrilling competition
throughout its period.

Perhaps the most famous team seen in competition was the
noted four from Cooperstown, New York, bearing an international
reputation. The Easterners, although weakened by illness in the
ranks of their players, proved practically invincible. Another
notable organization was the four representing the Midwick Club
of Pasadena, California. In addition to the civilian teams, the
United States army was represented by some fast fours, who
provided thrill after thrill with their reckless but winning form
in the saddle. Perhaps the most notable of the military combi-
nations was the Fort Sam Houston four, which went through the
tournament with practically an undefeated record. The army
teams were granted certain handicaps, however, which gave them
a slight edge in some of the contests.

Aviation, a branch of sport which claims a large place in the
popular fancy, was not neglected by those who drew up the pro-
gramme. Two world-famed aviators have performed before
hundreds of thousands, though one of these, Lincoln Beachey,
became a victim to the elements which he had so often defied.
While giving an exhibition flight in a German Taube, Beachey fell
to his death on March 14 when his monoplane crumpled at the
start of a daring loop.

Nothing daunted by the untimely end of Beachey, a new
luminary appeared in Arthur Smith, whose aerial maneuvers ex-
ceed in point of recklessness anything attempted by his prede-
cessor. Smith thrills thousands in daily flights and skiey acro-
batics, including crazy dips and loops, startling dashes to the
earth and illuminated flights through the night air. (See p. 192.)

RACES AND GOLF 189

Smith became in a day an attraction outshining, perhaps, any
other single performer upon the huge Exposition programme.

Those who loved horse racing and grieved at the decline of
the sport in California, were rejoiced at the announcement of
some of the biggest harness and running events yet staged in this
country. Two meetings were arranged for the Exposition sched-
ule, a summer harness event, June 5th to 19th, and a fall running
meeting, October 30th to November 13th. The Panama-Pacific is
the first Exposition to make horse racing an outstanding feature
of its activities. About $227,000 was set aside to be distributed
in handsome purses and stakes for the events. A $20,000 trotting
and a $20,000 pacing stake was put up for each meeting, with other
sums ranging from $1,000 to $5,000. The four stakes of $20,000
each are the largest ever offered in any light-harness event, and
insured entries of the highest class.

The race track is situated near the athletic stadium, and com-
mands an unsurpassed view of the San Francisco Bay, together
with the Marin County heights and the entrance to the Golden
Gate. The grandstand seats thirty-five thousand spectators. The
course, under scientific preparation for several months, was put
in fine shape. The length of the lap is one mile.

One of the biggest golf events ever staged in this country was
successfully managed by the Exposition. Five weeks of sport
on the links around the bay counties, including high-class exhi-
bitions by both men and women, were in the plans of the com-
mittee. Events included both professional and amateur contests,
and seldom, if ever before, had a community of the size of San
Francisco maintained so continuous an interest in the sport.
Valuable prizes and trophies were offered for the different events
of the programme. Handsome cups and medals were granted
amateurs, while professionals were tendered purses of generous
proportions.

Perhaps the banner event of the tournament was the amateur
championship for men played on the course of the Ingleside Golf
and Country Club. Players of international reputation were en-
tered in this event, and as a result, the play offered sensation
after sensation. The tournament was won by Harry Davis, of
the Presidio Golf Club, after a struggle in which he eliminated
such stars as Chick Evans, H. Chandler Egan, Heinrich Schmidt,
and Jack Neville. Davis met Schmidt in the finals of the event
and won only after a dazzling exhibition of driving and putting
such as has seldom been seen on a California course.

In addition to the men's championships, the women were in
the limelight for a week. Miss Edith Chesebrough won the finals

190 THE JEWEL CITY

of the first flight play over Mrs. H. T. Baker. Mixed foursomes,
events for professionals, driving, putting, and approaching con-
tests were all included upon the programme, with gratifying
results.

Yachting was granted an appropriate position upon the calen-
dar, the races scheduled including yachts, sloops and motor boats
upon San Francisco Bay and the ocean waters in the neighbor-
hood of the Farallones. Perhaps the biggest event upon the pro-
gramme is to be the International Regatta scheduled for August
1st to 31st, an event intended to bring into competition practically
every type of racing craft afloat. This has brought attractive
entries from both Eastern and Pacific clubs.

Special events were also arranged. A schooner race, with a
course starting from a point on the bay off the Exposition and
extending to the Farallone Islands, is one of them. Perhaps the
most attractive of these events, however, will be the long-distance
race for yachts from New York to San Francisco. The boats are
to sail along the Atlantic seaboard, reaching San Francisco via the
Panama Canal. Several entries for this contest have already been
filed, and it is expected that by the time set for the start, a first-
class field will be ready to weigh anchor. Handsome cups, fur-
nished by the Exposition for winners in the different nautical
events, include many valuable trophies.

Boxing, the professional phase of which was recently abolished
by an act of the California legislature, found an important place
upon the Exposition programme. Amateur events staged at the
Civic Auditorium excited great interest. By a special arrange-
ment with the Amateur Athletic Union, the Exposition manage-
ment obtained the national winners of Boston for the San Fran-
cisco tournament. Accordingly, the best of the country's amateur
glove crop exhibited their wares to big galleries. In the matter
of championships, California and the Pacific Northwest obtained
the chief honors, several of the Eastern ring stars falling by the
wayside in their work.

Not to be found wanting in the completeness of their scheme,
the Exposition directors are still busy with plans which promise
many events of unusual attactiveness for the Fall. It is hinted that
the winner of the world's baseball series, waged between the Na-
tional and American leagues, will be brought to the Coast for an
exhibition series in October, to play against an all-star team. Other
phases of sport during the Exposition period include rowing, lawn
tennis, handball and certain types of football, though disagree-
ments between the two largest universities of the Coast have made
the autumn sport an uncertain quantity.

THE WASHINGTON BUILDING, A. F. Heide, architect, is a roomy structure with
an imposing classical facade.

THE OREGON BUILDING, Foulkes and Hague, of Portland, architects, is an
enlargement, with some changes, of the Parthenon at Athens, done in huge
Oregon logs. Both of the buildings shown above contain interesting exhibits
of the resources of their states.

( P. 191 )

.2-

XX.

THE JOY ZONE

A mile of amusement places, many of which are really educational
— The Panama Canal, Grand Canyon, Yellowstone Park and
the native villages— "The 101 Ranch"— "Toy land Grown Up"
— Other notable features.

HE JOY ZONE, nearly a mile in length, is a broad
avenue bordered with closely packed places of amuse-
ment. There are more than one hundred concession-
aires, with two hundred and twenty buildings de-
voted to refreshment or pleasure, including a few in
other places on the grounds. Here are all sorts of divertissements,
from roller coasters to really great educational sights like the
Panama Canal or the Grand Canyon.

By common consent the PANAMA CANAL is the most note-
worthy feature of the Zone. Indeed, it ought not to be on the
Zone. It should have had a place in the Exposition proper, as
one of its finest exhibits. The show is a working reproduction
of the Panama Canal, on so large a scale that it covers five acres.
The landscape of the Canal Zone is faithfully reproduced, with
real water in the two oceans, the Gatun Lake, the Chagres River
and the Canal. The visitor sees it from cars which travel slowly
around the scene, and which are fitted with telephonic connec-
tions with a phonograph that explains the features of the Canal
Zone as the appropriate points are passed. Next to seeing the
Canal itself, a sight of this miniature is the most interesting and
instructive view possible of the great engineering feat. In one
way it is even better than a trip through the Canal. It gives the
broad general view impossible from any point on the Isthmus
itself.

In much the same class are the reproductions of the GRAND
CANYON and the YELLOWSTONE PARK. The Grand Canyon
has an added interest in the presence of Navajo and Hopi families
living in reproductions of their desert homes. Representing other
native races, there are the SAMOAN VILLAGE, the MAORI VIL-
LAGE, and the TEHUANTEPEC VILLAGE. All these people are
genuine and live in primitive style on the Zone, though, to tell the
truth, they are quite likely to use college slang and know which
fork to use first. Not on the Zone, but proper to be mentioned
here, are the Blackfoot Indians brought to the Exposition from
Glacier Park by the Great Northern Railroad. Eagle Calf is a real
chief of the old days, and his band is a picturesque group.

194 THE JEWEL CITY

There is TOYLAND GROWN UP, a product of the astonishing
genius of Frederic Thompson, creator of Luna Park, covering
nearly twelve acres and packed with Thompson's whimsical con-
ceptions of the figures of the Mother Goose Tales, Kate Greenway's
children, and soldiers and giants, and the familiar toys of the
Noah's Ark style — all on a gigantic scale. JAPAN BEAUTIFUL, a
concession backed by the Japanese Government, has many inter-
esting features, including the enormous gilded figure of Buddha
over the entrance and a reproduction of Fujiyama in the back-
ground. Then there is an Antarctic show entitled "LONDON TO
THE SOUTH POLE;" the STREETS OF CAIRO; the SUBMARINES,
with real water and marine animals; CREATION, a vast dramatic
scene from Genesis; the BATTLE OF GETTYSBURG; the EVOLU-
TION OF THE DREADNAUGHT; and many other spectacles and
entertainments of many classes, but all measuring up to a certain
standard of excellence insisted upon by the Exposition. The
AEROSCOPE, a huge steel arm that lifts a double-decked cabin
more than two hundred and fifty feet above the ground and then
swings it around in a great circle over the Zone, is one of the
thrillers.

The Joy Zone has suffered from the excellence of the Exposi-
tion to which it is the side-show. The Exposition itself is so
wonderful a sight and contains so vast a number of remarkable
and interesting things that multitudes have been content to stay
with it, too much engrossed to find time for any but a few of the
best things on the Zone. No better evidence could be found
of the beauty, interest and value of this Exposition.

APPENDIX

(A) SCULPTURES AND MURAL PAINTINGS

The following lists give the titles, locations, and names of
artists of the Exposition Sculptures and Mural Paintings. They
do not include work exhibited in the Palace of Fine Arts, or in
the state or foreign buildings, but only those which were designed
for the adornment of the Exposition palaces, courts, and gardens.

The lists also index all matter and illustrations describing or
showing this "Exposition art.'* Figures in light-face type refer to
pages in the text; those in black-face type, to illustrations.

I. SCULPTURES.

SOUTH GARDENS. — Two Mermaid Fountains, by Arthur Putnam (21, 84, 99) ;
Fountain of Energy, by A. Stirling Calder (83, 47).

PALACE OF HORTICULTURE. — Figures at bases of spires, by Eugene Louis
Boutier; Pairs of Caryatids, by John Bateman (21).

FESTIVAL HALL. — The Torch Bearer (on domes), Bacchus, The Listening
Woman, Flora and Pan, Flora and Dreaming Girl, Figures on cartouche over
entrance, all by Sherry E. Fry (25, 26, 32).

TOWER OF JEWELS. — Cortez (east side of arch), by Charles Niehaus (46,
48) ; Pizarro (west side of arch), by Charles C. Rumsey; Priest, Soldier, Philos-
opher and Adventurer, by John Flanagan (46, 44) ; Armored Horseman (on ter-
race of tower), by F. M. L. Tonetti (46) ; Fountain of Youth, by Edith Woodman
Burroughs (49, 84, 89, 53); Fountain of El Dorado, by Gertrude Vanderbilt
Whitney (49, 84, 89, 54).

PALACE OF VARIED INDUSTRIES.— Man with a Pick, Tympanum group
of Varied Industries, New World Receiving Burdens of Old, Keystone figure,
Power of Industry, all by Ralph Stackpole (33, 37, 138) ; Victory (on the gables
of all the central palaces), by Louis Ulrich (28, 18).

PALACES OF MANUFACTURES AND LIBERAL ARTS.— Frieze over Portals,
Craftsmen, Woman with Spindle, Man with Sledgehammer, all by Mahonri
Young (33).

PALACE OF EDUCATION. — Typanum group, Education, by Gustav Gerlach
(34, 138); Panel, Male Teacher, by Cesare Stea; Panel, Female Teacher, by C.
Peters (34).

WEST FACADE OF PALACE GROUP. — Thought (on columns flanking half
domes), by Ralph Stackpole; The Triumph of the Field, by Charles R. Harley;
Abundance, by Charles R. Harley; Ex Libris (half dome of Education), by
Albert Weinert; Physical Vigor (half dome of Food Products), by Earl Cum-
mings; Vestibule Fountains, by W. B. Faville (all on pp. 34, 35).

NORTH FACADE OF PALACE GROUP. — The Conquistador and The Pirate,
both by Allen Newman (35, 43, 44).

EAST FACADE OF PALACE GROUP.— The Miner, by Albert Weinert (35).

COLUMN OF PROGRESS. — The Adventurous Bowman, by Herman A. Mac-
Neil (56, 61, 57); The Burden Bearers (frieze at base of group), by Herman A.
MacNeil (61) ; Frieze of Progress (frieze on pedestal), by Isidore Konti (61, 60).

COURT OF THE UNIVERSE.— Nations of East and West (on arches), by A.
Stirling Calder, Leo Lentelli and Frederick G. R. Roth (52, 55, 63, 59).

Genii on Columns, by Leo Lentelli; Pegasus Spandrels, by Frederick G. R.

196 THE JEWEL CITY

Roth; Medallions, by B. Bufano and A. Stirling Calder; The Stars, by A. Stir-
ling Calder; Signs of the Zodiac, by Herman A. MacNeil (all on p. 52).

Fountains of the Rising and the Setting Sun, by A. A. Weinmann (52, 90, 63,
69) ; The Elements, Earth, Air, Fire and Water, by Robert Aitken (52, 64) ; Music
and Poetry, by Paul Manship (52).

COURT OF THE AGES. — Fountain of the Earth, by Robert Aitken (65, 66, 72,
91-5, 70, 73) ; Columns of Earth and Air, by Leo Lentelli (66, 67) ; Ages of Civili-
zation (on Altar) and Thought (on side altars), by Chester Beach (66, 67, 70);
Primitive Man, Primitive WToman, and The Hunter (on arcades), by Albert Wein-
ert (66); Modern Time Listening to the Story of the Ages (in North Court), by
Sherry E. Fry (67, 72).

COURT OF SEASONS.— The Harvest (on half dome), by Albert Jaegers;
Rain and Sunshine (on columns), by Albert Jaegers; Feast of the Sacrifice (on
pylons), by Albert Jaegers (76, 79) ; Fountain groups, The Seasons, by Furio Pic-
cirilli (75-6, 90-1, 94); Attic figures of Abundance, and spandrels, by August
Jaegers; Fountain of Ceres (forecourt), by Evelyn Beatrice Longman (77, 91, 79).

COURT OF FLOWERS. — The Pioneer, by Solon Borglum (81, 87) ; Fountain of
Beauty and the Beast, by Edgar Walter (81, 95, 100) ; Flower Girls (in niches), by
A. Stirling Calder (87, 100) ; The Fairy (above Italian towers), by Carl Gruppe;
Lions, by Albert Laessle.

COURT OF PALMS.— The End of the Trail, by James Earle Fraser (82, 86) ;
Caryatids (on attic), by A. Stirling Calder and John Bateman; Spandrels (over
portals), by Albert Weinert.

PALACE OF MACHINERY.— Genius of Creation, by Daniel Chester French (98,
147) ; Steam Power, Electricity, Imagination, Invention; Friezes, Genii of Machin-
ery; Reliefs on bases of columns, Application of Power to Machines; all by Haig
Patigian (97, 111) ; Eagles, by C. H. Humphries (97).

PALACE OF FINE ARTS. — The Weeping Woman (on colonnade flower boxes),
by Ulric H. Ellerhusen (102, 113); The Struggle for the Beautiful (three panels
repeated on attic of Rotunda), by Bruno Louis Zimm (102, 114) ; Figures between
panels, by Ulric H. Ellerhusen; Venus, Altar of Inspiration, by Ralph Stackpole
(103, 137) ; Frieze of Genius (on Altar), by Bruno Louis Zimm; the Priestess of
Culture (in Rotunda), by Herbert Adams (103) ; Aspiration (over main portal),
by Leo Lentelli; Decorations on Flower Receptacles, by Ulric H. Ellerhusen (103).

II. MURAL PAINTINGS.

TOWER OF JEWELS. — West panel — Joining of Atlantic and Pacific, center;
Discovery, left; Purchase, right. East panel — Gateway of All Nations, center;
Labor Crowned, left; Achievement, right; all by William de Leftwich Dodge
(46,53).

ARCH OF THE NATIONS OF THE EAST. — South panel — The Western March
of Civilization; North panel — Ideals Attending Immigration; both by Edward
Simmons (55-6).

ARCH OF THE NATIONS OF THE WEST. — North panel — Pioneers Leaving
for the West; South panel — Pioneers Arriving on Pacific Coast; both by Frank
Vincent Du Mond (56, frontispiece).

COURT OF THE AGES. — Earth, two panels (northwest corner of corridor) ;
Air, two panels (southwest corner of corridor) ; Water, two panels (south-
east corner of corridor) ; Fire, two panels (northeast corner of corridor) ; all
by Frank Brangwyn (67, 68, 71, 74).

COURT OF SEASONS. — Art Crowned by Time (in half dome) ; Man Receiving
Instruction in Nature's Laws (in half dome) ; Spring and Seedtime (two panels
in corridor before niche of Spring) ; Summer and Fruition (two panels in cor-
ridor before niche of Summer) ; Autumn and Harvest (two panels in corridor

APPENDIX 197

before niche of Autumn) ; Winter and Festivity (two panels in corridor before
niche of Winter) ; all by H. Milton Bancroft (75, 76).

COURT OF PALMS. — Fruits and Flowers (lunette over entrance of Palace
of Education), by Childe Hassam; The Pursuit of Pleasure (lunette over en-
trance of Palace of Liberal Arts), by Charles Hollo way; The Triumph of Culture,
sometimes called The Victorious Spirit (lunette over entrance of Court of Sea-
sons), by Arthur Mathews (all on P. 82).

ROTUNDA, PALACE OF FINE ARTS. — The Conception and Birth of Art,
four panels alternated with four panels of the Golds of California. In order
they are: The Birth of European Art, the Orange Panel, Inspiration in All
Art, the Wheat Panel, the Birth of Oriental Art, Metallic Gold, Ideals in Art,
the Poppy Panel; all by Robert Reid (103, 104).

(B) STATISTICS OF CONSTRUCTION WORK

Palace Size, feet Exhibit area Cost

Mines and Metallurgy 451 x 579 5.75 acres $359,445

Transportation 579 x 614 7.25 acres 481,677

Agriculture 579 x 639 7.5 acres 425,610

Food Products 424 x 579 5.4 acres 342,551

Varied Industries 414 x 541 5. acres 312,691

Manufactures 475 x 552 5.35 acres 341,069

Liberal Arts 475 x 585 5.75 acres 344,180

Education 394 x 526 4.7 acres 425,610

Machinery 972 x 372 9. acres 659,665

Fine Arts 1100 x 186 5. acres 580,000

Horticulture 672x329 5. acres 341,000

Festival Hall seats 4000 270,000

Tower of Jewels 435 feet high 428,000

Dome of Palace of Horticulture 185 feet high, 152 feet in diameter.

Paved area within the Exposition grounds, 4,000,000 square feet, or 91.5 acres.
At an average width of 40 feet, this is equal to nearly 20 miles of asphalt.

PRESIDENT. — Charles C. Moore.

VICE-PRESIDENTS. — William H. Crocker, Reuben B. Hale, I. W. Hellman, Jr.,
M. H. de Young, Leon Sloss, James Rolph, Jr.

SECRETARY.— Rudolph J. Taussig.

TREASURER.— A. W. Foster.

BOARD OF DIRECTORS. — John Barneson, M. J. Brandenstein, John A. Britton,
Frank L. Brown. George T. Cameron, Philip T. Clay, William H. Crocker,
R. A. Crothers, M. H. de Young, A. I. Esberg, Charles S. Fee, H. F. Fortmann,
A. W. Foster, R. B. Hale, I. W. Hellman, Jr., Homer S. King, Curtis H. Lindley,
P. H. McCarthy, James McNab, Charles C. Moore, Thornwell Mullally, Dent H.
Robert, James Rolph, Jr., A. W. Scott, Jr., Henry T. Scott, Leon Sloss, Charles
S. Stanton, Rudolph J. Taussig, Joseph S. Tobin.

EXECUTIVE STAFF. — Director-in-Chief, Frederick J. V. Skiff; Director of
Works, Harris D. H. Connick; Director of Exhibits, Asher Carter Baker; Director
of Exploitation, George Hough Perry; Director of Concessions and Admissions,
Frank Burt.

ARCHITECTURAL COMMISSION. — George W. Kelham, San Francisco, Chief
of Architecture; Willis Polk, William B. Faville, Clarence R. Ward, and Louis

198 THE JEWEL CITY

Christian Mullgardt, San Francisco; Robert Farquhar, Los Angeles; McKim,
Mead & White, Carrere & Hastings, and Henry Bacon, New York. Associate
Architects: Arthur Brown, Jr., G. Albert Lansburgh, Bernard R. Maybeck, San
Francisco.

DIVISION OF WORKS.— Director, Harris D. H. Connick; Assistant Director of
Works and Chief of Department of Construction, A. H. Markwart; Chief of
Architecture, George W. Kelham; Chief, Department of Sculpture, K. T. F. Bitter;
Acting Chief, A. Stirling Calder; Chief, Department of Color and Decoration,
Jules Guerin; Chief, Department Civil Engineering, E. E. Carpenter; Chief,
Mechanical and Electrical Engineering, Guy L. Bayley; Chief, Department of
Illumination, W. D'A. Ryan; Chief, Department of Landscape Gardening, John
McLaren.

DIVISION OF EXHIBITS.— Director, Asher Carter Baker; Chief, Department
of Fine Arts, John E. D. Trask; Assistant Chief, Department of Fine Arts, Robert
B. Harshe; Chief, Department of Education and Social Economy, Alvin E. Pope;
Chief, Department of Liberal Arts, Theodore Hardee; Chief, Department Manu-
factures and Varied Industries, Charles H. Green; Chief, Department of Ma-
chinery, George W. Danforth; Chief, Department of Transportation, Blythe E.
Henderson; Chief, Department of Agriculture, Thomas G. Stallsmith; Chief,
Department of Live Stock, D. O. Lively; Assistant Chief, Department of Live
Stock, I. D. Graham; Chief, Department of Horticulture, G. A. Dennison; Chief,
Department of Mines and Metallurgy, C. E. van Barneveld.

OTHER DEPARTMENT HEADS. — Traffic Manager, Andrew M. Mortensen.
General Attorney, Frank S. Brittain. Commandant of Exposition Guards, Captain
Edward Carpenter, U. S. A. Director of Congresses, James A. Barr. Director of
Music, George W. Stewart. Director of Special Events, Theodore Hardee. Chief
of Special Events, Hollis E. Cooley. Chairman of Music Committee, J. J. Levison.

CALIFORNIA STATE COMMISSION. — Governor Hiram W. Johnson, ex officio;
Matt I. Sullivan, President, San Francisco; Chester H. Row ell, Fresno; Marshall
Stimson, Los Angeles; Arthur Arlett, San Francisco. Commissioner General,
W. D. Egilbert. Secretary, F. J. O'Brien. Controller, Leo S. Robinson.

WOMAN'S BOARD OF THE EXPOSITION. — Honorary President, Mrs. Phoebe
A. Hearst; President, Mrs. F. G. Sanborn; Vice-Presidents, Mrs. Lovell White, Mrs.
I. Lowenberg, Mrs. W. H. Taylor, Mrs. John F. Merrill, Mrs. Frank L. Brown,
Mrs. Irving M. Scott; Secretary, Mrs. Gaillard Stoney; Treasurer, Mrs. P. E.
Bowles; Assistant Treasurer, Mrs. E. R. Dimond; Auditor, Mrs. Charles W. Slack.
Directors, Mrs. Edson F. Adams, Mrs. Frank B. Anderson, Mrs. P. E. Bowles,
Dr. Marian Bertola, Mrs. Frank L. Brown, Mrs. Aylett R. Cotton, Mrs. Francis
Carolan, Mrs. Edwin R. Dimond, Mrs. Joseph A. Donohoe, Mrs. Joseph D. Grant,
Mrs. Reuben B. Hale, Mrs. P. C. Hale, Mrs. Phoebe A. Hearst, Mrs. I. W. Hellman,
Jr., Mrs. C. Edward Holmes, Mrs. John Johns, Mrs. Henry Krebs, Mrs. Jesse N.
Lilienthal, Mrs. I. Lowenberg, Miss Laura McKinstry, Mrs. John F. Merrill, Mrs.
Robert Oxnard, Mrs. Horace D. Pillsbury, Mrs. George A. Pope, Mrs. F. G.
Sanborn, Mrs. Henry T. Scott, Mrs. Laurence Irving Scott, Mrs. William T.
Sesnon, Mrs. Ernest G. Simpson, Mrs. Charles W. Slack, Mrs. M. C. Sloss, Mrs.
Gaillard Stoney, Mrs. William Hinckley Taylor, Mrs. William S. Tevis, Mrs.
Lovell White, Mrs. Edward Wright.

FOREIGN COMMISSIONERS

ARGENTINA. — Horacio Anasagasti, Resident Commissioner General; Alberto
M. D'Alkaine, Secretary.

AUSTRALIA. — Alfred Deakin, Commissioner General, resigned; Niel Nielsen,
New South Wales; F. W. Hagelthorn, Victoria; F. T. A. Fricke, Victoria, Deputy
Commissioner; J. A. Robertson, Queensland; George Oughton, Secretary.

APPENDIX 199

BOLIVIA. — Manuel Vicente Ballivian, Commissioner General.

CANADA. — William Hutchison, Canadian Exhibition Commissioner.

CHINA. — Chen Chi, Resident Commissioner General; Allan S. Chow, Secretary.

CUBA. — General Enrique Loynaz del Castillo, Commissioner General; Dr.
Amando Montero, Secretary.

DENMARK. — Otto Wadsted, Resident Commissioner.

FRANCE. — Albert Tirman, Commissioner General; Jean Guyffrey, Secretary.

GUATEMALA. — Jose Flamenco, Resident Commissioner; Fernando Cruz, Sec.

HONDURAS. — Antonio A. Ramirez F. Fontecha, Commissioner General; Fer-
nando Somoza Vivas, Resident Commissioner.

ITALY. — Ernesto Nathan, Commissioner General; Vito Catastini, Secretary.

JAPAN. — Haruki Yamawaki, Resident Commissioner General; Shinji Yoshino,
Secretary.

NETHERLANDS. — H. A. van Coenen Torchiana, Resident Commissioner.

NEW ZEALAND. — Edmund Clifton, Commissioner General; M. O'Brien, Sec.

NORWAY.— F. Herman Gade, Commissioner General; Birger A. Guthe, Sec.

PERSIA. — Mirza Ali Kuli Khan, Commissioner General.

PORTUGAL. — Manuel Roldan, Commissioner General.

SIAM. — James H. Gore, Commissioner General; A. H. Duke, Secretary.

SPAIN. — Count del Valle de Salazar, Representative.

SWEDEN. — Richard Bernstrom, Commissioner General ; Herman Virde, Sec.

TURKEY. — Vahan Cardashian, Imperial Adjutant High Commissioner.

URUGUAY. — Eduardo Perotti, Commissioner General.

COMMISSIONERS FROM STATES AND ISLANDS

NATIONAL COMMISSION.— William Phillips, Chairman; Franklin D. Roose-
velt, Judge W. B. Lamar ; F. N. Bauskette, Secretary.

ARKANSAS. — F. B. T. Hollenberg, Commissioner General.

CALIFORNIA. — Matt I. Sullivan, President; W. D. Egilbert, Commissioner
General; F. J. O'Brien, Secretary.

HAWAII.— H. P. Wood, Chairman.

IDAHO. — Jay A. Czizek, Executive Commissioner.

ILLINOIS. — Adolph Karpen, Chairman; Guy E. Cramer, Resident Executive;
John G. Oglesby, Secretary.

INDIANA. — S. P. Hamilton, Resident Commissioner.

IOWA. — W. W. Marsh, Chairman.

KANSAS. — George H. Hodges, President; H. S. Dean, Secretary.

MARYLAND. — Roberdeau A. McCormick, Chairman; Robert J. Beachman, Sec.

MASSACHUSETTS. — Peter H. Corr, Chairman; Charles O. Power, Secretary.

MISSISSIPPI. — Isham Evans, Chairman; D. Ben Holmes, Secretary.

MISSOURI. — John L. McNatt, Chairman; Norman M. Vaughan, Secretary.

MONTANA.— David Hilger, Chairman; Frank A. Hazelbaker, Secretary.

NEVADA. — George T. Mills, Commissioner.

NEW JERSEY. — Robert S. Hudspeth, President; Charles F. Pancoast, Sec.

NEW YORK. — Norman E. Mack, Chairman; Daniel L. Ryan, Secretary.

NORTH DAKOTA.— Governor L. B. Hanna, Chairman; Will E. Holbein, Sec.

OHIO. — D. B. Torpey, Resident Commissioner.

OKLAHOMA. — J. J. Dunn, Resident Commissioner ; Mrs. Fred E. Sutton, Sec.

OREGON. — O. M. Clark, Chairman; George Hyland, General Manager.

PENNSYLVANIA. — Martin G. Brumbaugh, President; A. G. Hetherington,
Director in Charge; C. E. Carothers, Secretary.

200 THE JEWEL CITY

PHILIPPINES.— Leon M. Guerrero, President; W. W. Barkley, Secretary.

TEXAS. — Mrs. Eli Hertzberg, Chairman; J. T. Bowman, Secretary.

UTAH. — Glen Miller, Chairman; Mae Lail, Secretary.

VIRGINIA.— W. W. Baker, Chairman; Alexander Forward, Secretary.

WASHINGTON. — John Schramm, President; Charles G. Heifner, Executive
Commissioner.

WEST VIRGINIA. — Paul Grosscup, Chairman ; G. O. Nagle, Secretary.

WISCONSIN. — John T. Murphy, Chairman; Arthur W. Prehn, Resident Com-
missioner; D. E. Bowe, Secretary.

(D) BIBLIOGRAPHY

The Panama-Pacific Exposition presents so many aspects of
public importance that it will doubtless inspire a considerable
library of books upon its various features. Those heretofore pub-
lished, however, agree in testifying to the unprecedented appeal
which it makes on its artistic side; they have attempted little more
than to describe the architecture of the main exhibit palaces, and
interpret the sculpture and murals which adorn them.

Of the titles given below, the first two volumes are wholly of
this character. Mrs. James* little book has especial reference to
the story told by the decorative sculpture. The attractive Neu-
haus volume is a more critical discussion of the Exposition art,
as distinguished from exhibits in the Palace of Fine Arts, which
are to be covered by Prof. Neuhaus' second book. To an outline of
Exposition art, Mr. Cheney's booklet adds a brief, helpful account
of the Fine Arts exhibit. Mr. Barry's more ambitious volume
opens with an interesting chapter on the Exposition's inception
and growth; the remainder of the text "is mainly devoted to the
artistic features associated with the courts and the main palaces."

The other books named describe and show "Exposition art."

PALACES AND COURTS OF THE EXPOSITION, by Juliet James,
16mo., 151 pp., including 32 illustrations. San Francisco, the Cali-
fornia Book Co.

THE ART OF THE EXPOSITION, by Eugen Neuhaus. 8vo., 100
pp., with 32 ills. San Francisco, Paul Elder & Co.

AN ART-LOVER'S GUIDE TO THE EXPOSITION, by Sheldon
Cheney. 12mo., 100 pp., including 20 ills. Berkeley, published by
the author.

THE CITY OF DOMES, by John D. Barry. 12mo., 142 pp., with
48 ills. San Francisco, J. J. Newbegin.

IN THE COURT OF THE AGES (Poems), by Edward Robeson
Taylor. 8vo., 33 pp., 7 ills. San Francisco, A. M. Robertson.

THE SCULPTURE AND MURALS OF THE PANAMA-PACIFIC
INTERNATIONAL EXPOSITION, by Stella G. S. Perry. 12mo., 112
pp., including 47 ills. San Francisco, the Wahlgreen Co.

THE GALLERIES OF THE EXPOSITION, by Eugen Neuhaus.
8vo., 108 pp., with 30 ills. Paul Elder & Co.

THE SCULPTURE OF THE EXPOSITION PALACES AND
COURTS, by Juliet James. 12mo., 32 ills. San Francisco, H. S.
Crocker Co.

INDEX

In order not to overload this index with details which, for most readers, would
render it inconvenient, only the more important sculptures and murals among
the "Exposition art" have been listed here, together with the different national
and historical sections of the Fine Arts Palace, and the names of artists men-
tioned most frequently in the text. Fuller lists will be found on pp. 130-133
(winners of grand prizes, medals of honor and gold medals in the Fine Arts
Exhibit) and pp. 194-5 (murals and sculptures).

Figures in light-face type refer to pages in the text, those in heavier type to
the illustrations.

Abbey, Edwin A., painter, 107, 115.

Adams, Herbert, sculptor, 103, 104.

"Adventurous Bowman, The," 56, 58.

Agriculture, Palace of, 16; architec-
ture and sculpture, 35, 36, 51; ex-
hibits, 146, 152.

"Air," sculpture by Aitken, 52; mu-
rals by Brangwyn, 67-71, 74.

Aitken, Robert, sculptor, 52, 72, 91.

"Among the White Birch Trunks," 128,
126.

Arabian Nights, Fountain of, 82.

Arch, Tower of Jewels, 42, 51, 53.

Arches of the Court of Seasons, 77.

Arches of the Rising and the Setting
Sun, architecture, 51; sculpture, 52,
55; murals, 55, 56; frontispiece, 59,
63.

Architects, Board of, 13.

Architecture, main palace group, 27-
36; Tower of Jewels, 49; Court of
the Universe, 51; Court of the Ages,
65-7; Court of Seasons, 75; Court of
Flowers and Palms, 78; Palace of
Machinery, 96; Fine Arts, 101-2.

Argentina, appropriates $1,700,000 for
its representation at P. P. I. E., 14;
Fine Arts exhibit, 129, 131; forestry
exhibit, 153; pavilion, 154, 155, 169.

Arkansas, building, 176.

Australia, Fine Arts exhibit, 131; pa-
vilion, 155, 148.

Autumn, Fountain of, 76, 91.

Avenue of Palms, 16, 18.

Aviation, 151, 188, 17, 192.

Awards in Fine Arts exhibit, 130-133.

Bacon, Henry, architect, 13, 75.

Bancroft, H. Milton, mural painter, 75,
76.

Baths of Caracalla, 96.

Beach, Chester, sculptor, 66.

Beachey, Lincoln, aviator, 151.

"Beauty and the Beast," Fountain of,
81; described, 95, 10O.

Belgium, exhibits in French Pavilion,
108, 164.

Bennett, Edward H., architect, plan for
Exposition, 13.

Bitter, Karl T. F., chief of sculpture,
14, 104, 110.

Blank Walls, use of in Exposition ar-
chitecture, 28.

Bolivia, pavilion, 156.

Borglum, Solon, sculptor, 81.

Boston Symphony Orchestra, 142-145.

Brangwyn, Frank, painter, 67-71, 82;
etchings, 110.

Brown, Arthur, architect, 13.

Burbank, Luther, exhibitor, 153.

Burroughs, Edith Woodman, sculptor,
49, 89.

Byzantine architecture, 27, 28.

Calder, A. Stirling, sculptor, 52, 55, 61,
81, 83, 84.

California, votes $5,000,000 bonds for
Exposition, 13; Counties raise $2,-
500,000, 14; Mining exhibit, 150;
building, 171, 179, 182.

Canada, pavilion, 156, 161, 148.

Ceres, Fountain of, 77, 91, 79.

Chase, William M., painter, 117.

Chicago, exhibit, 175.

China, Fine Arts exhibit, 109, 127, 128,
132; industrial exhibits, 152; pavil-
ion, 161, 162.

Color of Exposition palaces, 36-41.

Column of Progress, 16, 36; descrip-
tion, 50, 51, 56, 61, 57, 58; frieze,
61, 60; night illumination, 140. See
also "Adventurous Bowman."

"Cortez," 46, 48.

Cortissoz, Royal, art critic, quoted, 140.

Court, key to the palace group, 50.

Court of Abundance, see Court of the
Ages.

Court of the Ages (or Court of Abun-
dance), 16; its gardens, 20; archi-
tecture, sculpture, and symbolism,
65-72, 70; Fountain of Earth, 72, 73;
Brangwyn's murals, 67, 68, 71, 74;
night illumination, 139, 140.

Court of Flowers, 16; Garden in, 20;
Portals, 34; architecture, sculpture
and gardening, 78, 81, 82, 95, 85;
Fountain of "Beauty and the Beast,"
81, 100; "The Pioneer," 81, 87.

Court of Palms, 16; Portals, 34; archi-
tecture, sculpture and gardening, 78,
81, 82, 95, 88, 93; "The End of the
Trail," 82, 86.

Court of Seasons, 16; architecture,
sculpture and murals, 75-77; night
illumination, 139, 140, 79, 80, 94.

Court of the Universe, 16; its gardens,
20; its coloring, 39; architecture,
sculpture and murals, 50-62; in-
scriptions, 62; night illumination,
139, 140.

Coxhead, Ernest, architect, prepares
first plans for Exposition, 14.

Crocker, W. H., vice-president of the
Exposition, 197.

202 THE JEWEL CITY

Cuba, rare trees and plants in Palace Fountain of Earth, 66, 67, 72; symbol-

of Horticulture, 22, 25; Fine Arts ism of, 91, 92; illumination of, 95,

exhibit, 122, 127, 132; industrial ex- 70, 73.

hibits, 152; horticultural exhibit, Fountain of El Dorado, 49, 84, 89, 54.

153; pavilion, 162. Fountain of Energy, 16; described, 83,
Deniville, Paul, his imitations of tra- 84, 47.

vertine, 40, 96. • Fountains of the Rising and the Set-
Denmark, paintings, 108; pavilion, ting Sun, 52, 90, 63, 69.

162. Fountains of the Seasons, 75, 76, 90,
De Young, M. H., vice-president of the 915 fountain of Summer, 94.

Exposition, 197. Fountain of Youth, 49, 84, 89, 53.

Dodge, William de Leftwich, mural Fountain, The Mermaid, 84, 99.

painter 46 49 France, Fine Arts exhibit, 107, 108,
Du Mond,' F. V., painter, 55, 56, 118. 109, 110, 122-124, 130; pavilion, 162,

T)iivpr»pf»"k Prank r»aintpr 117 163, 164, 157, 158.

EartrCFkoumatakor66t>er67"72; sym- ^^ James Earle, sculptor 82

boHsm of, 91, 92; Hlumination, 9o, H^^^S ^^,^^1.

^m^by^rangwJn^Tl' ™' **' i&i&Mi.

E,SeatioSnbLdrasnogcTayin EcoJomy, Pal- fallen- Kallela Axel, painter • HO

SS.'WSa'K ??2d ?^'P- S2S& Gu£S?S» *"' "*'

25^^s»iv»-

K$£$2?-X fkjy- »J35EM>. 78.

F??hin« 191 i?? Guatemala, pavilion, 161.

Etching, 1J1, 122. Guerin, Jules, chief of color, 14; color

rairy laies, »/. srhpmp ^fi-41 4Q i?l

Farquhar, Robert, architect, 13, 25. Hale R B oroDoses Exoosition 11-

Faville, Wm. B., architect, 13, 27, 35. ™f' „ "iHmt i<?7 ^xP°sition, 11,

"Feast of the Sacrifice, The," 76, 79. ^SSSS^&^&^f. 82, 117.

Festival Hall 16; architecture and Hastings, Thomas, architect 13.

sculpture 25, 26; organ 26 ; music Hawaii, exhibits, 153; building, 177.

in, 141-5; organ an exhibit, 152; Hearst, Mrs. Phoebe A., 171.

rfSBftar* relation to Expo- ^SS^S^^*™""* °f

arch?teScturf aS^uUrt' litlJI j "*ffi ^Ide: Return of the Fishermen,"

murals, 103, 104; statuary in ro- Holloway, 'Charles, painter, 82.

*5^df, 5°* colonnade, 104, 130; Honduras, pavilion, 161.

should be preserved m Golden Gate Hoo Hoo House of 25.

Park, 104, 107; The Annex, 107, 109; Horticulture, Palace of, 16; architec-

night illumination, 140, 112, 113, ture and sculpture, 21, 22; Cuban

114,119,137. display, 22, 25; exhibits in, 153;

Fine Arts exhibit, 107-130; mainly view Of5 24.

contemporaneous, 107-8; great ex- Hungary, Fine Arts exhibit, 109, 132.

tent of the collection, 108; American Idaho building, 176.

art, 108-9; unexpected foreign repre- Illinois, building, 175, 180.

sentation, 109; the Futurists, 110; Illumination, 95, 134-140, 37, 135, 137,

the United States section, 110, 115- 192.

122; Historical section, 110-115; For- Impressionists, 110, 116.

eign sections, 122-130; awards of Indiana, building, 175.

grand prizes, medals of honor, and Inscriptions, on Tower of Jewels, 45,

gold medals, 130-3. 46; in Court of the Universe, 61, 62;

"Fire," sculpture by Aitken, 52, 64; in Court of the Seasons, 77.

murals by Brangwyn, 66-71. Iowa, building, 175.

Fisheries, 153. Italian fountains, 35.

Flanagan, John, sculptor, 46. Italian towers, 28, 18.

"Flower Girl," 81, 10O. Italy, Fine Arts exhibit, 107, 108, 109,
Food Products, Palace of, 16; archi- 110, 122, 124, 127, 132; industrial

tecture and sculpture, 34, 35; ex- exhibits, 151; pavilion, 164, 165,

hibits, 146, 153, 119. 159.

Forestry, 152, 155, 156, 177. Jaegers, Albert, sculptor, 76.

Foster, A. W., treasurer of the Exposi- Jaegers, August, sculptor, 76.

tion, 197. Japan, Fine Arts exhibit, 109, 122, 132,
Fountain of "Beauty and the Beast," 133; Mining exhibit, 150; industrial

81,95,100. exhibits, 151, 152; pavilion, 165,

Fountain of Ceres, 77, 91, 79. 166, 169.

INDEX 203

Joy Zone, outlay of concessionaires, Munch, Edvard, painter, exhibit in

$10,000,000, 14, 16; described, 193-4. Fine Arts Annex, 109.

Kansas, building, 176. Mural paintings, see list in Appendix,

Keith, William, painter, 107, 117. pp. 195, 196.

Kelham, George W., architect, 13; de- Music at the Exposition, 141-5.

scribes co-operative plan of Exposi- Nations of the East and West, Arches

tion, 15; Courts of Flowers and of, 52, 55, 59, 63.

Palms, 78. Netherlands, The, Fine Arts exhibit,
Konti, Isidore, sculptor, 56, 61. 109, 130, 133; industrial exhibits,
Ladd, Anna C., sculptor, 130. 152; horticultural exhibit, 153; pa-
Lafayette, statue of, 104, 130, 114. vilion, 166, 157.
Landscape Gardening, importance in Nevada, building, 176.

Exposition plan, 19, 20. New Jersey, building, 173, 174.

Lemare, Edwin H., organist, 143, 145. Newman, Allen, sculptor, 35.

Lentelli, Leo, sculptor, 55, 61, 104. New Orleans, 13.

Levison, J. B., head of music commit- New York City, building, 173.

tee, 141, 142. New York State, appropriates $1,000,-

Liberal Arts, Palace of, 16; architec- 000 for its representation at P. P.

ture and sculpture, 33, 34; exhibits I. E., 14; building, 172, 173, 170.

in, 146, 150, 151; view of, 38. New Zealand, exhibits, 152, 153; for-

Lighting of Exposition, 134-140. estry exhibit, 153; pavilion, 167.

Lincoln, Abraham, statue of, 130; rel- Niehaus, Charles, sculptor, 46.

ics in Illinois building, 175. North Dakota, building, 176.

"Listening Woman," 26, 32. Norway, Fine Arts Exhibit, 109, 133;

Live-Stock exhibit, 16; classes and pavilion, 167.

awards, 178-185. Ohio, building, 174, 175.

Longman, Evelyn Beatrice, sculptor, Oklahoma, building, 176.

77, 91. Oregon, exhibits, 152; building, 172,

Machinery, Palace of, ground broken 191.

for, 14; relation to Exposition's ar- Organ, in Festival Hall, 26, 141-5, 152;

chitectural plan, 16, 36; architecture in Illinois building, 175.

and sculpture of, 96-98; exhibits in, "Outcast, The," 130, 136.

146, 149, 150; views of, 105, 106, Palaces of main Exposition group, see

111. Agriculture, Education, Food Prod-

MacNeill, H. A., sculptor, 52, 56, 61. ucts, Liberal Arts, Manufactures,

"Man with a Pick," 33. Mines, Transportation, Varied Indus-

McKim, Mead and White, architects, tries, Machinery, and Fine Arts.

13, 51. Panama, pavilion, 161.

McLaren, John, chief of landscape en- Panama Canal, the motive of the Ex-

gineering, 14; importance of his gar- position, 11, 28; reproduction of 193.

dens in the Exposition scheme, 19, Panama-Pacific Exposition; motive and

20; his gardening conforms to color planning, 11; first suggested, 11;

scheme, 41. plans interrupted by fire of 1906,

Manufactures, Palace of, 16; architec- 12; Exposition Company formed and

ture and sculpture, 33, 34; exhibits subscriptions begun, 12; California

in, 146, 151. and San Francisco vote bonds, 13;

Maryland, building, 174. San Francisco wins Congressional

Massachusetts, exhibits, 152; building, approval, 13; national aid not asked,

173, 181. 13; site selected, 13; President Taft

Mathews, Arthur F., painter, 82, 117. breaks ground, 13; Board of Archi-

Maybeck, Bernard R., architect, 13, 25, tects appointed, 13; Ground Plan

101, 102. perfected, site prepared and work

Mermaid Fountain, 84, 99. begun, 14; Exposition ready on time,

Mines and Metallurgy, Palace of, 16; 14; cost, $50,000,000, 14; Ground

architecture and sculpture, 35, 36; plan described, 16-21, 27-41.

exhibits in, 150. Patigian, Haig, sculptor, 98.

Miniatures, Fine Arts exhibit, 121, 122. Pennell, Joseph, 122.

Mississippi, building, 174. Pennsylvania, building, 173, 181.

Missouri building, 175, 176, 180. Pennsylvania Railway station, New

Montana, Mining exhibit, 150; build- York, 96, 107.

ing, 176. Philadelphia, exhibit, 152.

Montessori, Maria, educator, 152. Philippines, The, Fine Arts exhibit,

Moore, C. C., president of the Exposi- 128, 133; forestry exhibit, 152, 153;

tion, 141, 197. building, 177.

Moorish domes, 27; towers, 28. Piccirilli, Furio, sculptor, 75, 91.

"Mother of the Dead," 130, 120. Piccirilli, Attilio, sculptor, 130.

Motion Pictures, used for exhibition Pietro, C. L., sculptor, 130.

purposes, 146, 149. Pine and Redwood Bungalows, 25.

Muck, Karl, director of Boston Sym- "Pioneer, The," 81, 87.

phony Orchestra, 143. "Pioneer Mother," 104.

Mullgardt, Louis Christian, architect, "Pirate, The," 35, 44.

13, 65-67, 72. Polk, Willis, architect, 13.

204

THE JEWEL CITY

Portals: Palace of Varied Industries,
28, 33, 18, 37; Manufactures and
Liberal Arts, 33, 34; Education, 34,
35, 138. Half-domes, Education and
Food Products, 35; on north facade,
35, 43, 44; east facade, 35, 36; on in-
terior aisle, 36; in Courts of Flowers
and Palms, 82.

Portugal, Fine Arts exhibit, 109, 128,
129, 133; building, 167.

Press Building, 26.

"Priest, The," 46, 44.

Putnam, Arthur, 84.

Pyle, Howard, painter, 121.

Redfleld, E. W., painter, 117.

Reid, Robert, painter, 103, 104, 118.

Richardson, Symmes, architect, 56.

Rising and Setting Sun, Fountains of,
52, 90, 63, 69.

Rodin, Auguste, sculptor, 163; his
statue, "The Thinker," 158.

Rolph, James, Jr., vice-president of
the Exposition, 197.

Roman architecture, 27, 51, 61, 96.

Roth, Frederick G. R., sculptor, 55, 61.

Rumsey, Charles C., sculptor, 46.

Ryan, W. D'A., illumination expert,
14, 45, 134.

Sabin, Wallace, organist, 142.

Saint-Gaudens, Augustus, sculptor, 130.

Samt-Saens, Camille, composer, 142-5.

San Francisco, votes $5,000,000 bonds

Taft, William H., breaks ground for
Exposition, 12, 13.

Tarbell, Edmund C., painter, 117.

Taussig, Rudolph J., secretary of the
Exposition, 197.

Texas, building, 176.

"Thinker, The," 158.

Tiffany, Louis C., exhibit in Fine Arts
Palace, 118.

Tonetti, F. M. L., sculptor, 46.

Tower of the Ages, 66, 67, 139, 70.

Tower of Jewels, 16; central feature of
main palace group, 28, 33; architec-
ture and sculpture, 42-49; illumina-
tion, 42; "jewels," 45; historical sig-
niflcance, 42-49; epitomizes the Ex-
position art, 49; relation to Court of
the Universe, 51; night illumination,
134, 139, 140; views of, 47, 135.

Transportation, Palace of, 16; archi-
tecture and sculpture, 35, 36, 51; ex-
hibits in, 150, 151.

Travertine, Artificial, material of Ex-
position palaces, 36, 39, 40, 77, 96,
107.

Trumbull, Edward, painter, 173.

Turkey, pavilion, 168.

Twachtman, John H., painter, 117.

Tympanum, Palace of Varied Indus-
tries, 33, 138; Education, 34, 138.

United States, Fine Arts exhibit, 108-
no 115-118 121 131

gressional approval, 13.

sa£?, anilKinic' *&"*?*' i J'r 1 1s
Schumann-Hemk, Mme., singer, 143.

Scudder, Janet, sculptor, 130.
Sculpture, exhibits in Fine Arts Palace

i^M^^

TurW j&^JVtfS:

pendix, pp. 195, 196.
Seasons, Court of, see Court of Sea-

sons; Fountains of, see Fountains.
Setting Sun, see Rising and Setting

Sun.

Siam, pavilion, 167.
Simmons, Edward, mural painter, 55,

56.
Sloss, Leon, vice-president of the Ex-

position, 197.

Smith, Arthur, aviator, 151, 188, 192.
Sousa, John Philip, musical conductor,

143-5.
South Gardens, 16; hedge of mesembry-

anthemum, 19; flowers in, 20; de-

scription of South Gardens and their

buildings, 21-26; view of, 23.
Spain, Fine Arts exhibit, 109, 128, 132.
Sports and games, Exposition contests

and prizes, 186-190.
Spring, Fountain of, 75, 76, 91.
Stackpole, Ralph, 33, 34, 103.
Stars, in Court of Universe, 51, 52.
Stewart, G. W., musical director, 142.
St. Louis, city, exhibit, 152.
Summer, Fountain of, 76, 91, 94.
Sweden, Fine Arts exhibit, 109, 128,

133; pavilion, 167, 168, 160.

Uruguay, Fine Arts exhibit, 122, 127,
133 '• industrial exhibits, 152.

i^n-
, 150,

group, 28,

Tnr1ii«trfo<i Palaro of 1 fi • it«

of main

"Walled City," mam group of exhibi-

tion palaces, 15 ; architecture of, 27-

36; material and color, 36-41.
Walter, Edgar, sculptor, 81, 95.
Ward, Clarence R, architect, 13, 96.
Washington, state, exhibits, 153 ; build-

ing, 172, 191.
Water colors, in Fine Arts exhibit, 121,

128.

"Water," murals by Brangwyn, 67-71.
Weinert, Albert, sculptor, 35.
Weinmann, A. A., sculptor, 52, 90, 115.
Weir, J. Alden, painter, 121.
West Virginia, building, 174.
Whistler, James McNeill, painter, 107,

117, 122.
Whitney, Gertrude Vanderbilt, sculp-

tor, 49, 82, 84, 95, 110.
Winter, Fountain of, 76, 91.
Wisconsin, building, 175.
Wolf, Henry, etcher, 122, 130.
Young, Mahonri, 33, 34.
Youth, Fountain of, 49, 84, 89, 53.
Young Women's Christian Association

Building, 26.
Zimm, Bruno Louis, 102, 103.

SOME

Other Publications

JOHN H. WILLIAMS

Sheldon Building, San Francisco
Provideot Building, Tacoma

"A noteworthy edition of a charming book, in which Winthrop broke what was
then virgin soil. The text is of historical importance ; the illus-
trations are works of art. — The Sun, New York.

The Canoe and the Saddle

By THEODORE WINTHROP

To which are now first added his WESTERN LETTERS AND JOURNALS.
Edited with an Introduction and Notes by John H. Williams. Royal 8vo., with
16 plates in color, 48 halftones, and 60 text etchings. Bound in half parch-
ment (leather); gilt top; boxed. Price $5.00 net. Three-quarters morocco,
$8.00. Three-quarters levant, full gilt, $10.00. By express, 30 cents extra.

" 'The Canoe and the Saddle,' Winthrop's treasure-house of information con-
cerning Indian life and the ways of the wilderness frontier, was frequently re-
published during the thirty years following its first appearance in 1862 ; but since
out of print, it stood out of danger of being forgotten by all except students of
the history of the West. Mr. Williams, himself an authority on that history, and
a valuable contributor to its literature, deserves thanks for this carefully edited,
well printed, and capitally illustrated new issue of the work. It is not a mere
reprint, but a definitive edition, expertly annotated by one who has taken fullest
cognizance throughout of the reader's probable unfamiliarity with early far
western conditions." — The New York Tribune.

"From the faraway Northwest comes this volume of particular interest to New
Englanders. . . . 'The Canoe and the Saddle' is a classic of frontier adven-
ture. With his Western journals and letters, which have now been added, it en-
hances greatly the interest that attaches to the attractive author. Winthrop was
shot at Great Bethel, in, June, 1861. He was but thirty-two, and gallantry of
service and nobility of character were embodied in this descendant of one of the
foremost Bay State settlers. Every care possible has been expended by Mr. Wil-
liams in preparing this volume, which is a perfect record of one who, though
begotten by New England, is a hero to the now populous Northwest, which he so
ably and fascinatingly interpreted in its frontier days." — The Transcript, Boston.

"As both editor and publisher, Mr. Williams deserves high credit for the dili-
gence and study he has put into his elaborately illustrated and annotated work."
— The Dial, Chicago.

"Winthrop's great work is not of the kind that one readily forgets, but it is
none the less pleasant to be reminded of it by such an edition. This is an his-
torical document of the highest value and in most attractive form. Its editor
has been particularly fortunate in his annotations and his illustrations. The
volume as a whole is a full justification of the elaborate care expended in its
preparation. Mr. Williams is to be congratulated upon the successful perform-
ance of a work valuable alike to American history and to that section with which
it deals." — The Argonaut, San Francisco.

"Mr. Williams has rendered a distinct service to American letters and history
in republishing Winthrop's account of his famous journey sixty years ago in the
Northwest. To present day readers, this frontier classic will come, with its re-
markable freshness of presentation and strong stamp of individuality, like a
new revelation. It gives a brilliant picture of frontier conditions in early Wash-
ington and Oregon, as they appeared to a keen and imaginative young observer."
— The New York Times.

"No other Pacific Coast book has such a prodigal yet representative wealth of
pictures. Much of the present edition is new. The admirable notes add to one's
understanding of the history of the 'Oregon Country.' " — The Oregonian, Portland.

JOHN H. WILLIAMS' ILLUSTRATED BOOKS ABOUT
THE GREAT MOUNTAINS.

The Mountain That Was "God"

New edition, revised and greatly enlarged. Large 8vo., with 190 illustrations

(8 in colors) of Mt. Ranier (Tacoma), its glaciers, canons,

forests and upland flower "parks."

The Guardians of the Columbia

Large Svo., with 210 illustrations (8 in colors) of Mt. Hood, Mt. Adams and
Mt. St. Helens, and of the Columbia River and its forests.

Yosemite and its High Sierra

Large 8vo., with 8 four-color plates from paintings by Chris Jorgensen, maps,

and more than 210 halftones, now first presenting the scenery

of the Yosemite National Park as a whole.

UNIFORM STYLES AND PRICES
EDITION DE LUXE, in ooze leather, watered linings, gilt top. In

box, $2.50 net; express 16 cents.
LIBRARY EDITION, in stout art crash, $1.50 net; express 16 cents.

"By these handsomely illustrated volumes, Mr. Williams has rendered a serv-
ice of great value to all nature-loving Americans." — New York Evening Post.

"There is an attractive boldness about the title, 'The Mountain That Was
"God," ' which goes with John H. Williams' illustrated book on Mt. Tacoma,
blunderingly, though officially, called Rainier. Mr. Williams has done his duty
very thoroughly by the great landmark of which he writes. Of course, it is to
the Indians and their legends that he owes his title." — New York World.

"In Mr. John H. Williams' fascinating new book of pictures and text about
the majestic western mountains, 'The Guardians of the Columbia,' the author's
descriptive power rises equal to his task of painting on a grand scale what the
hand of God has so magnificently laid out. He sees the geological ages at work
uplifting here an ocean bed, here an island, folding the earth's crust, molding
colossal mountain barriers, planting the forests. Fascinating are the Indian
legends whereby the bronze aborigines attempted to account for these marvels.
Especially interesting is the story of the birth of the great mountains, told in the
author's eloquent and graphic text." — Louisville Courier- Journal.

"We have decided to include in our list of Best Books of 1914 your 'Yosemite
and its High Sierra.' " — New York State Library, Albany.

"Mr. Williams' splendid new book surpasses his best previous works. Vol-
umes have been written and countless pictures published of Yosemite Valley,
but he gives us something different. He takes us into the High Sierra, where
nature is in its wildest and also it most beautiful moods. It is a new Yosemite
that he describes and pictures, and one finishes the book feeling that not one visit
but many would be needed to gain a comprehensive knowledge of Yosemite's
grandeurs." — Los Angeles Express.

"A book of brief but valuable text and magnificent new pictures; a book to
own and enjoy; and emphatically a book to send to friends whom one would have
know 'the glory of alpine California.' " — San Francisco Bulletin.

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