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THE SCULPTURE
AND MURAL DECORATIONS
OF THE EXPOSITION
THE MOTHER OF TOMORROW
DETAIL FROM 'THE NATIONS OF THE WEST"
A. STIRLING CALDBR, SCULPTOR
The SCULPTURE and
MURAL DECORATIONS
of the EXPOSITION
A PICTORIAL SURVEY OF
THE ART OF THE PANAMA-PACIFIC
INTERNATIONAL EXPOSITION
DESCRIBED BY
STELLA G. S. PERRY
WITH AN INTRODUCTION BY
A..STIRLING CALDER, N. A.
ACTING CHIEF OF SCULPTURE
OF THE EXPOSITION
PAUL ELDER AND COMPANY
PUBLISHERS- SAN FRANCISCO
COPYRIGHT, 1915, BY
PAUL ELDER & COMPANY
SAN FRANCISCO
The courtesy of the Cardinell-Vincent Company,
official photographers of the Panama-Pacific International
Exposition, of granting permission to reproduce the
selection of official photographs appearing in
this volume, is gratefully acknowledged.
To the MEMORY of
KARL BITTER
When I have fears that I may cease to be
Before my pen has glean d my teeming brain.
Before high-piled books, in charactery,
Hold like rich garners the full ripen d grain;
When I behold, upon the night's starrd face,
Huge cloudy symbols of a high romance ,
And think that I 'may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour ,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love; then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.
—Keats
CONTENTS
PAGE
Sonnet. Keats v
The Sculpture and Mural Decorations of the Exposition. A. Stir-
ling Calder, N. A 5
ILLUSTRATIONS
EXPOSITION SCULPTURE FACING PAGE
The Mother of Tomorrow — Detail from the Nations of the West.
Cardinell-Vincent, photo. (Frontispiece.)
Fountain of Energy — Central Group, South Gardens. Pillsbury
Pictures 14
Equestrian Group — Detail, Fountain of Energy. Cardinell-Vincent,
photo 16
North Sea1— Atlantic Ocean — Details, Fountain of Energy. Cardi-
nell-Vincent, photo 18
Mermaid Fountain— Festival Hall, South Gardens. Cardinell-
Vincent, photo 20
Torch Bearer — Finial Figure, Festival Hall. Cardinell-Vincent,
photo 22
The Muse and Pan — Pylon Group, Festival Hall. W. Zenis Newton,
photo 24
Boy Pan— Detail, Pylon Group, Festival Hall. Cardinell- Vincent,
photo 26
Detail, Spire Base, Palace of Horticulture. Cardinell-Vincent,
photo 28
Cortez — In Front of Tower of Jewels. /. L. Padilla, photo . . 30
Pizarro — In Front of Tower of Jewels. William Hood, photo . . 32
The Pioneer — Avenue of Palms. W. Zenis Newton, photo ... 34
The End of the Trail — Avenue of Palms. W. Zenis Newton, photo 36
Historic Types — Finial Figures, Tower of Jewels. Cardinell-
Vincent, photo 38
Fountain of Youth — Colonnade, Tower of Jewels. W. Zenis New-
ton, photo 40
Fountain of El Dorado — Colonnade, Tower of Jewels. W. Zenis
Newton, photo 42
Frieze — Details, Fountain of El Dorado. Cardinell-Vincent, photo 44
Nations of the East — Group, Arch of the Rising Sun. Gabriel
Moulin, photo 46
Pegasus — Spandrels, East and West Arches. Cardinell- Fine ent,
photo 48
The Stars — A Detail of the Colonnade. Cardinell-Vincent, photo . 50
Earth— Detail, one of "The Elements." Cardinell- Vincent, photo 52
The Signs of the Zodiac — Frieze on the Corner Pavilions. Cardinell-
Vincent, photo 54
[VII]
THE ILLUSTRATIONS
FACING PAGE
Nations of the West — Group, Arch of the Setting Sun. Cardinell-
Vincent, 'photo 56
Enterprise — Detail, Nations of the West. Cardinell- Vincent, photo 58
Dance — Balustrade, Court of the Universe. Cardinell- Vincent,
photo 60
The Rising Sun — Fountain, Court of the Universe. W. Zenis New-
ton, photo 62
Column of Progress — In the Forecourt of the Stars. Cardinell-
Vincent, photo 64
Frieze — Base, Column of Progress. Cardinell- Vincent, photo . . 66
Primitive Ages — Altar Tower, Court of Ages. Cardinell- Vincent,
photo 68
Primitive Man — Arcade Finial, Court of Ages. Cardinell- Vincent,
photo 70
Fountain of Earth — Central Group, Court of Ages. W. Zenis New-
ton, photo 72
Survival of the Fittest — A Panel, Fountain of Earth. Cardinell- •
Vincent, photo 74
Lesson of Life — A Panel, Fountain of Earth. Cardinell- Vincent,
photo 76
Helios — Separate Group, Fountain of Earth. Cardinell- Vincent,
photo 78
Water Sprites — Base of Column, Court of Ages. Cardinell- Vincent,
photo 80
A Daughter of the Sea — North Aisle, Court of Ages. W. Zenis
Newton, photo 82
The Fairy — Finial Figure, Italian Towers. Cardinell- Vine ent, photo 84
Flower Girl — Niche, Court of Flowers. Cardinell- Vincent, photo . 86
Beauty and the Beast — Fountain Detail, Court of Flowers. Cardi-
nell-Vincent, photo 88
Caryatid — Court of Palms. Cardinell- Vincent, photo .... 90
The Harvest — Court of the Four Seasons. Cardinell- Vincent, photo 92
Rain — Court of the Four Seasons. Cardinell- Vincent, photo . . 94
Fountain of Spring — Court of the Four Seasons. Cardinell- Vincent,
photo 96
Fountain of Winter — Court of the Four Seasons. Cardinell- Vincent,
photo . 98
Fountain of Ceres — Forecourt of the Four Seasons. W. Ttnis
Newton, photo 100
The Genius of Creation — Central Group, Avenue of Progress.
Cardinell- Vine ent, photo 102
The Genius of Mechanics — Column Friezes, Machinery Hall.
Cardinell- Vincent, photo 104
The Powers — Column Finials, Machinery Hall. W. Zenis Newton,
photo 106
Pirate Deck-hand — Niches, North Facade of Palaces. Cardinell-
Vincent, photo 108
[ VIII ]
THE ILLUSTRATIONS
FACING PAGE
From Generation to Generation — Palace of Varied Industries.
Cardinell-Vincent, photo 110
The Man With the Pick — Palace of Varied Industries. Cardinell-
Vincent, -photo 112
The Useful Arts — Frieze over South Portals. Cardinell-Vincent,
photo 114
Triumph of the Field — Niches, West Facade of Palaces. Cardinell-
Vincent, photo 116
Worship — Altar of Fine Arts Rotunda. Ralph Stackpole, photo . 118
The Struggle for the Beautiful — Frieze, Fine Arts Rotunda. Cardi-
nell-Vincent, photo 120
Guardian of the Arts — Attic of Fine Arts Rotunda. Cardinell-
Vincent, photo 122
Priestess of Culture — Within the Fine Arts Rotunda. Cardinell-
Vincent, photo 124
Frieze — Flower-boxes, Fine Arts Colonnade. /. L. Padilla, photo 126
EXHIBIT SCULPTURE.
The Pioneer Mohter — Exhibit, Fine Arts Colonnade. W. Zenis
Newton, photo 128
Lafayette — Exhibit, Fine Arts Rotunda. W. Zenis Newton, photo 130
Thomas Jefferson — Exhibit, Fine Arts Rotunda. Cardinell-Vin-
centy photo . . 132
Lincoln — Exhibit, South Approach. Cardinell-Vincent, photo . .134
Earle Dodge Memorial — Exhibit, Fine Arts Rotunda. Gabriel
Moulin, photo 136
Fountain — Foyer, Palace of Fine Arts. Gabriel Moulin, photo . . 138
Wildflower — Garden Exhibit, Colonnade. W. Zenis Newton, photo 140
The Boy With the Fish — Garden Exhibit, Colonnade. W. Zenis
Newton, photo 142
Young Diana — Garden Exhibit, Colonnade. Pillsbury Pictures . 144
Young Pan — Garden Exhibit, Colonnade. Cardinell-Vincent, photo 146
Fighting Boys — Garden Exhibit, Colonnade. W. Zenis Newton,
photo 148
Duck Baby — Garden Exhibit, Colonnade. W. Zenis Newton, photo 150
Muse Finding the Head of Orpheus — Garden Exhibit, Colonnade.
W. Zenis Newton, photo 152
Diana — Garden Exhibit, South Lagoon. W. Zenis Newton, photo. 154
Eurydice — Garden Exhibit, Colonnade. W. Zenis Newton, photo . 156
Wood Nymph — Garden Exhibit, Colonnade. W. Zenis Newton,
photo 158
L' Amour — Garden Exhibit, Colonnade. W. Zenis Newton, photo . 160
An Outcast — Garden Exhibit, Colonnade. Gabriel Moulin, photo . 162
The Sower — Garden Exhibit, Colonnade. W. Zenis Newton, photo 164
The Bison — Garden Exhibit, South Approach. W. Zenis Newton,
photo 166
[IX]
THE ILLUSTRATIONS
FACING PAGE
The Scout — Garden Exhibit, South Lagoon. W. Zenis Newton,
photo 168
The Thinker — Exhibit, Court of French Pavilion. W. Zenis New-
ton, photo 170
MURAL DECORATIONS
Earth — Fruit Pickers. Court of Ages. W. Zenis Newton, photo . 172
Fire — Industrial Fire. Court of Ages. W, Zenis Newton, photo . 174
Water — Fountain Motive. Court of Ages. W. Zenis Newton,
photo 176
Air— The Windmill. Court of Ages. W. Zenis Newton, photo . 178
Half Dome — Court of the Four Seasons. Gabriel Moulin, photo . 180
Art Crowned by Time — Court of the Four Seasons. Gabriel
Moulin, photo 182
The Seasons — Court of the Four Seasons. Gabriel Moulin, photo . 184
Westward March of Civilization — Arch, Nations of the West.
Gabriel Moulin, photo 186
Discovery — The Purchase. Tower of Jewels. Gabriel Moulin,
photo . 188
Ideals of Emigration — Arch, Nations of the East. Gabriel Moulin,
photo 190
The Golden Wheat — Rotunda, Palace of Fine Arts. Gabriel
Moulin, photo 192
Oriental Art — Rotunda, Palace of Fine Arts. Gabriel Moulin, photo 194
The Arts of Peace — Netherlands Pavilion. Gabriel Moulin, photo . 196
Penn's Treaty with the Indians — Pennsylvania Building. Clayton
Williams, photo 198
Return from the Crusade — Court, Italian Pavilion. Cardinell-
Fincent, photo : 200
The Riches of California — Tea Room, California Building. Gabriel
Moulin, photo 202
[x]
THE SCULPTURE
AND MURAL DECORATIONS
OF THE EXPOSITION
THE SCULPTURE AND
MURAL DECORATIONS
"In this fair world of dreams and vagary,
Where all is weak and clothed in failing forms,
Where skies and trees and beauties speak of change.
And always wear a garb that's like our minds,
We hear a cry from those who are about
And from within we hear a quiet voice
That drives us on to do, and do, and do"
THE persistent necessity for creation is strik-
ingly proved by the prolific output of the
Arts. Year after year, as we whirl through
space on our mysterious destiny, undeterred by
apparent futility, the primal instinct for the
visualization of dreams steadily persists. Good
or bad, useful or useless, it must be satisfied.
It amounts to a law, like the attraction of the
sexes. Discouraged in some directions, it will
out in others, never permanently satisfied. Each
age and people must have its own art as well as
what remains of the arts of past ages and peoples-
in spite of scant patronage, commercial limita-
tion, and critics' hostility. The philosopher tells
us that everything has been done, yet we must
do it again — personally.
Art is so much a part of life that to discourage
it is to discourage life itself — as if one would say:
"Others have lived ; all imaginable kinds of life
have been lived. Therefore it is unnecessary for
you to experience life."
[3]
The SCULPTURE and MURAL DECORATIONS
The plastic and pictorial decoration of an
Exposition offer unusual opportunity to the
Artist, at the same time imposing handicaps —
the briefness of time, the poverty of material.
It affords chances for experiment, invention, and
originality only limited by the necessary formal
settings of the architecture, out of proportion to
the initiative of the artists, a majority of whom
prefer, either from inclination or necessity, to
take the safe course, the beaten path of prece-
dent. Artists are of two kinds — the Imitators
and the Innovators. The public also is of two
corresponding kinds — those who accept only
what they have learned to regard as good, pre-
ferring imitations of it to anything requiring the
acquisition of a new viewpoint ; and that other
kind, receptive to new sensations. The first class
is the more numerous, which explains why most
of our art, in fact most of all art, is imitative—
that is, imitative of the works of other artists.
The sculpture and mural decorations of the
buildings and grounds of the Exposition ade-
quately represent the output of American art
today. It is the best possible collection under
existent conditions.
Its many sources of inspiration — all Euro-
pean, like the sources of our racial origin — are
clothed in outward resemblances of the styles
and tinged with the thought of the masters, old
and new, who constitute Precedent. Thus, in
sculpture we have imitations, conscious or un-
conscious, of the Greek, of Michael Angelo,
Donatello, Rodin, Barye, Meunier, Saint Gau-
dens; in painting, of Besnard, Merson, Monet,
et cetera, as well as some more complex personal
[4]
The SCULPTURE and MURAL DECORATIONS
notes, more difficult to relate, although they too
are related in the main, adding only another
variation of character to the great mass of human
ideality. As in nature, there is nothing abso-
lutely pure — nothing that can exist totally un-
related to the whole — so it is in art. Its works
should be judged, not by their absolute adher-
ence to any so-called standard, but finally by
the appeal they make to the receptive and
unprejudiced mind.
Be brave, Mr. Critic — Madame Public, think
for yourself, at the risk of ridicule. Be not
ashamed to admire what appeals, before learn-
ing its author, and when it no longer appeals
leave it without remorse.
In this introduction to the sculpture of the
Exposition, it is unusually fitting that grateful
recognition be accorded the memory of the
sculptor whose lively faith in our growth, and
tireless energy first launched the enterprise. Karl
Bitter possessed more than any other American
sculptor that breadth of vision that enabled him
to discern talent — that generosity that enabled
him to give praise where he believed it due —
that suppleness of mind that could comprehend
new concepts — and that sense of justice that
avoided no obligation. Such an unusual com-
bination of faculties defined a man broader and
more profound than his broad achievement —
one of the rare personalities in our Art, the
most helpful exponent that sculpture has known
in this land. In the initial stages of planning,
his fiery initiative and amazing grasp of detail
commanded attention, speedily resulting in the
first general plan of the sculpture of the build-
[5]
The SCULPTURE and MURAL DECORATIONS
ings and grounds; while later his tenacity and
generosity assured the completed unity as it
now stands. Forty-four sculptors contributed
designs, the subjects of which were assigned to the
number of seventy-eight items, some of which
comprise compositions involving a score of fig-
ures. The number of replicas used as repeated
architectural motifs in order to create an effect of
richness necessitated by the styles of architec-
ture, is very numerous.
Vitality and exuberance, guided by a distinct
sense of order, are the dominant notes of the
Arts of the Exposition and pre-eminently of the
sculpture. It proclaims with no uncertain voice
that "all is right with this Western world" — it
is not too much to claim that it supplies the
humanized ideality for which the Exposition
stands — the daring, boasting masterful spirits
of enterprise and imagination — the frank enjoy-
ment of physical beauty and effort — the fascina-
tion of danger; as well as the gentler, more
reverent of our attitudes, to this mysterious
problem that is Life.
One of the strongest influences the sculpture
will have will be in the direction of a new im-
pulse to inventive decoration. This field has
remained relatively undeveloped, partly owing
to our fondness for the portrait idea, but the
direction is legitimate and worthy. Architecture,
which is the growth of a selective precedence,
must be continually supplied with new impulses
— new blood to re-energize, rehumanize its con-
ventions— and on the other hand, all such new
impulses must be trained into order with arch-
itecture. Within the last few years a school de-
[6]
The SCULPTURE and MURAL DECORATIONS
voted to the development of this, as it might be
styled, applied sculpture, has been maintained
by a group of public-spirited architects under
the management of the Society of Beaux Arts
Architects and the National Sculpture Society
of the United States of America.
The Star Goddess on the colonnades of the
Court of the Universe amounts to a definite
creation of a new type of repeated architectural
finial — a human figure conventionalized to be
come architecturally static — yet not so devital-
ized as to be inert. Based on another style of
architecture the finials of the cloister of the Court
of Ages serve a correspondingly related purpose,
and the crouching figures on columns in this court
are excellent examples of decorative crestings.
The groups of the Nations of the East and
the Nations of the West are new types in motif
and composition of arch-crowning groups — to be
seen in silhouette against the sky at all points.
Both of these are grandly successful solutions
of problems never before attempted since the
ancients imposed the quadriga form of compo-
sition. They were first of all made possible by
the receptive attitude of the distinguished archi-
tects, Messrs. McKim, Mead and White —
which proves conclusively to me that those who
are most versed in the various forms of antique
arts are also those who are most capable of
accepting the application of new motifs when
sufficiently proven, and of quickly assimilating
genuine contributions to the growth of pro-
gressive art. By so doing they lend to them all
that wealth of refined elegance that has come
down through the ages. This acceptance in
[7]
The SCULPTURE and MURAL DECORATIONS
itself is fraught with much encouragement to
the growing school of public sculpture that aims
to understand the principles of co-operation
and to weld them to an ideal.
The above is true also of the Column of
Progress, which was again made possible by the
instant comprehension of the architect, Mr. W.
Symmes Richardson. The Column illustrates
a new use for an ancient motif. A type of monu-
ment which while distinctly architectural in
mass has been humanized by the use of sculpture
embodying a modern poetic idea. Now, Mr.
Critic, it does not matter in the least whether
you care for this idea or not. The fact remains,
and is all important, that as a type of sculptured
column it is new and fills architectural and
aesthetic requirements, so that other columns
of the same or kindred types will be designed.
The Fountain of Energy and the Fountain
of the Earth are the two original fountain com-
positions. By which is meant that while there
are many other very charming fountains on the
grounds they are distinctly conceived within the
rules of precedent and offer no new suggestion
of type. An exposition is the proper place to
offer new types in design and execution and
happy are they who accept the challenge.
The fountains in the Court of the Universe
are examples of how the charm of sculpture can
vitalize architectural conventions. The crown-
ing figures of these fountains, representations
of the Rising and the Setting Suns, have achieved
great popularity.
The still potent charm of archaic methods
applied to modern uses is well illustrated in the
[8]
The SCULPTURE and MURAL DECORATIONS
groups of the "Dance" and of "Music" on the
terraces of the Court of the Universe. Again
on the rotunda of the Fine Arts Palace and else-
where this tendency crops out and always with
the assurance of pleasing. The group repre-
senting the "Genius of Creation" lends a modify-
ing note of refinement against the vigorous
Western facade of Machinery Building, and adds
much to the interest of the vistas north and
south of the Avenue of Progress.
There are figures and reliefs of genuine feeling
that do not gain by resemblances to the man-
nerisms of Rodin and Meunier, that are not
in harmony with the surrounding architecture.
The original figures in the south portal of the
Palace of Varied Industries and the panel over
the entrance to the Palace of Liberal Arts are
quite successful inserts of new thought in old
frames in spite of a touch of this influence.
Rodin, the emancipator of modern sculpture,
and a notorious anarchist as regards architec-
ture, is not always applicable. The imitation
of his style induces a negation of modelling
only in evidence in one of his manners of exe-
cution.
There is a vague tendency voiced by some
critics to advance the theory that the real future
democracy of art depends on the verdict of the
man in the street. This is ridiculous. The future
of art depends on no one class of men, aristo-
cratic or democratic. It depends on all men.
Art is neither democratic nor aristocratic. It
knows no class — it is concerned with life at large
— elemental life. Art is praise and all things in
life are its subjects.
[9]
The SCULPTURE and MURAL DECORATIONS
The group "Harvest" surmounting the great
niche in the Court of the Seasons is a fine placid
thing — and the bull groups on the pylons are
time-honored, virile conceptions strikingly placed.
The three-tiered sculpture groupings of the
Tower of Ages make rich appeal in relation to
the romantic architecture.
There are groups in niches in the west walls
that will remain caviar to the general, but which
are conceived with a fine sense of decoration,
and need only a touch of relation to reconcile
them to the observer. To him they are too
strange. Yet strangeness exists and if suf-
ficiently medicated is even admired. It is strange
when one thinks of it, to have had an Exposition.
"The End of the Trail" is perhaps the most
popular work on the grounds — the symbolism is
simple and reaches many, with just the right
note of sentiment. On the other hand, there are
those who have gone beyond the obvious and
prefer less realistic subjects particularly in re-
lation to architecture. Of this kind may be
found many inserts and details making no par-
ticular claim for attention except that of delight-
ful enrichment. The details of the Exposition
are excellent and sometimes brilliant.
"The Pioneer" is not well understood. The
trappings here puzzle the realists who insist on a
portrait of a certain personage — Joaquin Miller.
The sculptor, I know, intended nothing of the
sort. It is his vision of an aged pioneer living
over again for a moment his prime. Astride his
ancient pony hung with chance trappings, sym-
bols of association, with axe and rifle with which
he conquered the wilderness, he broods the past.
[10]
The SCULPTURE and MURAL DECORATIONS
A mural decoration should be fitting for the
place which it embellishes — both in color and
composition. The subject, also, should be rela-
tively interesting, but not the first considera-
tion as is the color, the line, the chiaros-curo.
At a glance the decoration should be the jewel
for the surrounding space. The murals at the
Exposition are rather unusual in their settings,
where every building and every court is so replete
with Mr. Guerin's splendid coloring.
Mr. Brangwyn's decorations are by far the
most interesting in their free joyous use of color
and amusing composition. From about the
middle of the cloister under the arches one turns
to the right or left and is greeted with a pleasant
surprise of color. Then the story appears and
is bouyant and rich in execution. One is rather
shocked when standing directly near or under-
neath by the big patches of color -and coarse
drawing, the vulgar types not well enough drawn
to move our admiration. The cloister looked
poor to have such rich notes in each corner, but
one glance without the arches into the rich and
teeming court, and we were reconciled to their
placing.
Mr. Simmons' color note is pleasant, seen
across the great 'court. How much more pleasant
it is than to have adopted the blue of the heavens
as the dominating note — all the blue decorations
in spite of their many excellences look dull and
grey and weary — the painters have not been
able to play up to and dominate the brilliant
blue of the sky. In the Court of the Four Seasons
one finds color notes that are fitting, though
lacking in imaginative interest.
[in
The SCULPTURE and MURAL DECORATIONS
From the Avenue of Palms one looks across
the Court of Flowers and sees over an opening
what appears to be a crucifixion. On nearer
view one is undeceived. The rich orange color-
ing and darker contrast is very handsome. It
is to be regretted that the lunettes over the other
doors are again that watery blue from heaven.
Though brilliant in themselves and clear in color-
ing, none of the three decorations in this court
are sufficiently naive in design for the space —
much too smart and knowing, they might be
easel picture motifs used for the occasion. The
American public is so quick and clever that it is
difficult to find in the painters the simplicity of
mind necessary for such work. Again we find
good composition and brilliant coloring in the
two wall paintings in the Pennsylvania Building.
The Italians have given us an imitation of
their frescoing — the doing of it in this manner
illustrates the simplicity of the Italian mind,
but does not convey to one who has not been to
Italy the absolute grandness of Italian fresco.
This is not a detailed review nor can justice
here be done to all that honest, earnest, hopeful
effort of the world-loving artist — he who delights
in the myriad phases of our lovely-terrible life,
who naively labors to bring forth his sonnet of
praise. Be kind to him all ye who contem-
plate, and remember how much easier it is to
criticise than to — be intelligently sympathetic.
It is all for you. Take what you like, and leave
the rest without pollution. It may serve to
comfort and to joy thy fellow-man.
A. STIRLING CALDER.
[12]
ILLUSTRATIONS and DESCRIPTIVE
NOTES of the SCULPTURE and
MURAL DECORATIONS
of the EXPOSITION
FOUNTAIN OF ENERGY
CENTRAL GROUP, SOUTH GARDENS
The Fountain of Energy in the place of
honor within the main entrance gives the
keynote of the Exposition — a mood of
triumphant rejoicing. The proud bearing
of the equestrian group, the wide sweep of
water when the fountain is in play, the
sportive movement of the figures in the
basin, all express the joy of achievement.
In the conception of the sculptor, A. Stirling
Calder, this was fitting tribute to the com-
pletion of the Panama Canal which the
Exposition celebrates.
The fountain has a double significance. In
the first aspect it records the conquest by
Energy of the labors of the Canal. In the
second it proclaims the approach of the
Super-Energy of the future. Both inter-
pretations are detailed upon the following
pages. On the globe supporting the horse-
man are indicated the sun's course North
and South and the evolution of mankind
from lower to higher forms of life. That of
the strenuous Western hemisphere is con-
noted by a bull-man; the quiet East by a
cat-human. Great oceans and lesser waters
revel in the fountain-bowl. A garland of
merfolk join globe to base with
great sculptural beauty.
14]
EQUESTRIAN GROUP
DETAIL, FOUNTAIN OF ENERGY
In the more obvious phase of the fountain's
meaning, Energy, the Lord of the Isthmian
Way, rides grandly upon the earth, tri-
umphing because of the Canal so well
achieved. His outstretched arms have
severed the lands and let the waters pass.
Upon his mighty shoulders stand Fame and
Glory, heralding the coming of a conqueror.
The second and more subtle intention is
nobly prophetic. Energy, the Power of the
Future, the Superman, approaches. Twin
inspirations — of two sexes to denote the
dual nature of man — urge him onward.
His hands point upward, contacting human
energy with Divine. It is interesting to
note the steadiness of the central figure, the
sense of firmness, security, in spite of the
feeling of motion in the whole. This is
largely due to the hold of the feet upon the
stirrups and the weight of the
body in the saddle.
[16]
NORTH SEA— ATLANTIC OCEAN
DETAILS, FOUNTAIN OF ENERGY
The basin of the Fountain of Energy is
devoted to the revel of the waters. The
genii of the four great oceans dominate the
scene. They are mounted upon cavorting
marine monsters and surrounded by the
smaller waters, fearlessly playing, head-
downwards, upon dolphins about to dive.
The Atlantic Ocean faces East; the Pacific,
West; the North and South Seas their
appropriate quarters. The symbolic figures
are designed to interpret the spirit of the
oceans they represent — the Atlantic, fine
and bright, upon her armored sword-fish;
the Pacific, a beautiful, graceful, happily
brooding Oriental; the North Sea, finned
and glistening, strange and eerie; the South
Sea, savage and tempestuous, blowing a
fitful blast. The lesser waters have a lighter
quality. The hair of the sea-spirits suggests
seaweed and coral. From the mouths of
of the sea-chargers jets of water rise to
meet the nimbus and rainbows of the
semi-spherical downpour of
the main fountain.
[18]
MERMAID FOUNTAIN
FESTIVAL HALL, SOUTH GARDENS
Long, quiet mirror pools flank the great
Fountain of Energy, giving balance and
calm to the entrance plaza, or South Gar-
dens. They are oblong in shape with the
farther ends curving into a graceful convex.
The pools are surrounded by formal flower-
beds planted to correspond to the beds
surrounding the central fountain, thus giving
continuity to the whole. These beds are
enclosed by a decorative fence which follows
the outline of the pools; the entering paths,
emphasized at the outer ends by flower
urns, at the inner by sculptural light
standards.
The curved ends of the pools are marked by
Arthur Putnam's beautiful Mermaid Foun-
tain, in duplicate. The crowning figure is
by no means the conventional mermaid.
She is free, full of grace, charmingly poised.
The bifurcated tail is original and gives
sculptural distinction as well as greater
human appeal. The figure is instinct with
a spirit of play but is not boisterous.
Arthur Putnam is a Californian who has
greatly influenced the development
of art in the West.
[20]
TORCH BEARER
FINIAL FIGURE, FESTIVAL HALL
As Festival Hall is the seat of the Exposi-
tion's musical life, all the sculpture on and
about the building expresses a lyrical mood.
The sculptor has contrived to give this
feeling great variety; but, on the whole,
the large reclining figures — the beautiful,
relaxed Reclining Nymph and the Listening
God over the great pylons — seem to be
meditatively listening, the seated figures
have a fanciful, lighter suggestion and those
standing give a gentle effect of rhythm. The
great arches are marked by a cartouche
emphasizing this intention.
"The Torch Bearer" here pictured is lightly
yet firmly poised above the minor domes.
Exquisitely silhouetted against the sky, she
has a spiral beauty, and the grace of one
posed in the midst of a dance. The work of
Sherry Edmundsen Fry, who made all the
sculpture on Festival Hall, is generally
characterized by a classic correctness com-
bined with a modern robustness. It lends
itself well to this French Renaissance build-
ing— a type that depends upon its
sculptured embellishments.
[22]
THE MUSE AND PAN
PYLON GROUP, FESTIVAL HALL
At the base of the great pylons that flank
the columnar entrance court of Festival
Hall, are low pyramidal masses of foliage
and flowering shrubs. An interesting group
by Sherry E. Fry is set in the midst of each.
The more evident figure, mounted upon a
decorative pedestal, is identical in both
groups — a classic, flower-bearing Muse, who
seems to step softly forward. But though
the Muse is repeated, the groups vary in the
smaller seated figures at the base of the
pedestals. This variation is not felt archi-
tecturally, for the figures balance perfectly
and are nestled in a mass of leafage. At the
feet of the Muse before the northern pylon
a Boy Pan sits among the flowers, balanced
in the southern group by a Young Nymph
or Dryad.
The gentle dignity of the standing Muse and
the reality and softness of her draperies
recall the same sculptor's figure, Peace,
exhibited in the department of Fine Arts
and awarded a medal by the jury. The
architectural beauty of these groups, in
relation to the arched panels of the pylons
forming their background, is worthy of
study. It will be seen that the group, in
spite of its statuesque quality, is actually
part of the wall surface. The beauty of the
ensemble is greatly enhanced by
the sympathetic planting.
24]
BOY PAN
DETAIL, PYLON GROUP, FESTIVAL HALL
Without doubt the most popular, if not the
most admired, of the statues that adorn
Festival Hall is the "Boy Pan," nestled in
the foliage at the base of the pedestal in the
group just described. This roguish little
god of woodland music has, besides his tra-
ditional attributes, a certain urchin quality
that is very appealing. He has just taken
his pipe from his lips, momentarily diverted
by the presence of an alert lizard his melody
has attracted. The lizard is here hidden in
the leafage. The arch amusement of the
whole figure, the mischievous, boyish smile
upon his face, have allurement, just lifted
from the normal by the quaint suggestion
of small horns still in velvet. Here in his
youth is the wholesome, simple, poetic Pan
of the earlier myths, he who grew into the
"Great God Pan," rather than the hero of
the more subtle and diversified later legends.
His pertness is contrasted with the shy
modesty of the Young Nymph, the com-
panion figure at the foot of
the opposite pylon.
[26]
DETAIL, SPIRE BASE
PALACE OF HORTICULTURE
The Palace of Horticulture, a combination
of French Renaissance with the Byzantine,
is consistently flowery in decoration. It has
been given a carnival expression. The
general sculptured adornments are heavy
garlands and overflowing baskets, and pro-
fuse ornamentations of flowers. Large
flower-decked jars stand in niches; the
cartouches bear the flower motif. Sugges-
tions of lattices and arbors appear in the
low domes on the porches surrounding the
great greenhouses, reminiscent of French
garden architecture of the Great Age.
The superb central glass dome that gives
the building distinction is crowned by a
huge flower basket and draped at its base
by a long garland. At the foot of the
sharply ascending spires — the slender shafts
of which are carved with conventionalized
vines and bear tapering flower urns as
finials — stand graceful garlands of girls.
These pleasing spire bases, the attendants
of Flora, are by Ernest Louis Boutier, a
Parisian. They carry small baskets of
flowers on their heads, a chain of flowers
binds them. The same feeling is continued
in the caryatides on this building, by John
Bateman. These, also flower-capped, are
repeated on the Press and Y. W. C. A.
•buildings, smaller structures in the South
Gardens adjoining the Horticultural Pal-
ace, thus unifying the buildings
in the plaza.
28
CORTEZ
IN FRONT OF TOWER OF JEWELS
Equestrian statues of Cortez and Pizzaro
stand in the Avenue of Palms at the base of
the Tower of Jewels to suggest the early
history of the South and West of this
hemisphere as a background to the present
achievements at Panama and, indeed, at
San Francisco. This spirited and romantic
presentation of the fearless conquistador,
Hernando Cortez, shows him at the very
height of his proud successes. Charles
Niehaus, whose work is always direct and
convincing, has made us feel the Spanish
conqueror's own sense of victory. We know
that now Mexico, the Tlascalans and the
Emperor Montezuma have been vanquished,
that the victor's ruthless ambition is already
dreaming of the conquest of New Spain and
the navigation of the Pacific. There are
infused into the work a brilliancy and dash
that fill the imagination with the glamor of
that picturesque period of history. The
perfect horsemanship, the restrained but
vigorous motion, the whole bearing, have a
stirring beauty. There is also intended and
expressed in the countenance a sense of
vision, as if Cortez had here a prophetic
moment in which he saw the future of
the continent he claimed.
[30]
PIZARRO
IN FRONT OF TOWER OF JEWELS
Pizzaro, the companion equestrian to Cortez,
is the work of Charles Gary Rumsey. The
grim, stern and epic history of the bold,
arrogant adventurer who was merciless in
success and dauntless in failure is ruggedly
suggested by this figure, mounted upon a
heavily armored charger and advancing
with drawn sword. The fact that Pizzaro
was a member of Balboa's party when that
explorer discovered the Pacific and that he
himself was in charge of a Spanish colony
at Darien in 1510, makes his appearance at
this Exposition appropriate. But it is, after
all, the conqueror of the Incas, the indomit-
able, who spared neither his men nor his
enemy until the rich cities of the Southern
Empire had been pillaged of their gold and
destroyed, who is here portrayed. After
achieving wealth and honors Pizzaro was
slain by the followers of a rival conquistador.
The position of these two equestrians is well
chosen; the colonnade of the Tower
makes an impressive background.
[32]
THE PIONEER
AVENUE OF PALMS
History of a later period, nearer to the heart
of Westerners, is embodied in Solon Borg-
lum's lusty and venerable Pioneer. This
impressive equestrian stands on the Avenue
of Palms at the entrance to the Court of
Flowers. It is interesting to note that, in
this rugged and commanding figure, fine-
ness, dignity and nobility are emphasized
as well as the more customary endurance
and hardihood conventionally associated
with the character. On the leather trap-
pings of the old Pioneer's horse, the tepee,
the canoe and other symbols of Indian life
are marked. The sculptor is himself the
son of pioneers and has treated this subject
with sincerity and affectionate insight. The
Pioneer has been greatly appreciated and
has received special notice in a number of
addresses delivered by distinguished guests
of the Exposition. Its veracity is attested
by the fact that resemblance to several
famous pioneers has been imagined in
it by their admirers.
[34]
THE END OF THE TRAIL
AVENUE OF PALMS
Still further back into the historical records
of American stamina goes The End of the
Trail by James Earle Eraser. No single
work of art at the Exposition has attracted
more popular applause than this. It has a
gripping, manly pathos that makes a direct
appeal. The physical vigor of the rider,
over-tried but sound, saves it from mere
sentiment. An Indian brave, utterly ex-
hausted, his strong endurance worn through
by the long, hard ride, storm-spent, bowed
in the abandon of helpless exhaustion, upon
a horse as weary as he, has come to the end
of the trail, beyond which there is no clear
path. It is easy to apply the message of
this statue to the tragedy of the American
Indian's decline upon the continent he once
possessed. The sculptor acknowledges as
his text these words of Marian Manville
Pope: The trail is lost, the path is hid and
winds that blow from out the ages sweep me
on to that chill borderland where Time's
spent sands engulf lost peoples
and lost trails.
[36]
HISTORIC TYPES
FINIAL FIGURES, TOWER OF JEWELS
As repeated alternating figures on the top of
corner pedestals on the first stage of the
Tower of Jewels, stand The Four Agents of
Civilization, the historic influences that have
developed our American life. These, the
Adventurer, the Soldier, the Priest and the
Philosopher, have been presented with vivid
simplicity by John Flanagan.
He has given us, first, the Adventurous Ex-
plorer, romantic, courageous, he who crossed
the uncharted seas and found new worlds;
then the formidable conquering Soldier, he
who founded settlements and held them
with his sword or fought with natives for
empire or riches for European monarchs;
then the Missionary Priest, inspired with a
holy zeal to spread the divine message to
strange peoples; and, last, the Philosopher,
the Thinker, whose great influence is but
now beginning. The treatment of these
figures is quiet, restful and architectural in
feeling, as becomes their position. They
supply the serious note to
the gala Tower.
[38]
FOUNTAIN OF YOUTH
COLONNADE, TOWER OF JEWELS
Within the colonnades of the Tower are two
wall-fountains by American women. The
Fountain of Youth in the eastern colonnade
is the work of Edith Woodman Burroughs.
She has given us the eternally desired foun-
tain in a new aspect, not as the legendary
restorative that changes age to adolescence,
but as the fount of perpetual youth that
keeps inspiring and vivifying the race and
every stage of our life.
An exquisite nude girl stands in a beauti-
fully balanced archway rising like a flower
from a pedestal on which are seen, like
roots, vaguely outlined, the faces of her
ancestors. She is Youth, the center of life,
for which the world, its dreams and its
rewards are made. The side panels show
the ships of life laden with the aged and
manned by infants, off on the sea of time
on the endless quests upon which youth and
desire for its fulfilments keep the world
launched. However, the enduring charm
of the fountain certainly comes from the
little -girlhood of the central figure, the
gentle, expectant sweetness of waning child-
hood and the perfect purity of the
emotion it produces.
40
FOUNTAIN OF EL DORADO
COLONNADE, TOWER OF JEWELS
Within the West colonnade of the Tower of
Jewels is the other fountain desired by all
the world — the Fountain of El Dorado.
Like the Fountain of Youth it is connected
by legend with early Spanish exploration in
America. Long ago, the story goes, there
lived in Mexico or South America a golden
king who scattered treasures along his path.
El Dorado and his realm have long been
symbols of the elusive gold sought by man-
kind in all ages and every clime.
In this fountain by Gertrude Vanderbilt
Whitney, it is not the mere possession of
wealth that is so sought, but those joys of
which our mistaken imaginings make gold
the symbol. In the central composition
here pictured, the Gilded One has vanished
through the portals. Impersonal, unre-
sponsive attendants in Aztec garb guard
the door from suppliant followers. With
subtle symbolism they give no sign as to
whether or not they will relent and give
entrance. But the fact that branches
of trees have grown close across the
opening seems to imply that
hope is slight.
[42]
FRIEZE
DETAILS, FOUNTAIN OF EL DORADO
Two long curving panels supplement the
main archway of the Fountain of El Dorado.
They represent the striving of humankind
for Power and Possession. Some by prowess,
some by thought; some gaily, some sorrow-
fully; some urgent, some patient; some rush-
ing, some lingering — all press onward toward
the longed-for goal. Here and there one
falls fainting; another halts for love or pleas-
ure or indifference. Some stop to lift or
help the fallen, others press by unheeding.
The certain sad fatality of the concept is
relieved of its pang by the light and fluent
beauty of treatment. The idea is perhaps
a little grim, but the handling is pleasant
and the impression agreeable. The beauty
of both the colonnade fountains is enhanced
by the lines of the water in the cascade stair-
way. In the Fountain of El Dorado this
effect is increased by a line of balanced jets
flowing from dolphin heads in
the lower panel.
[44]
NATIONS OF THE EAST
GROUP, ARCH OF THE RISING SUN
Across the great Court of the Universe, the
Court of Honor of the Exposition, the
Nations of the East and West face each
other from the summits of their triumphal
arches. They express the coming brother-
hood of man, the nations brought closer by
Canal and Exposition, and the fact that
civilization has girdled the earth. Inscrip-
tions characteristic of Eastern and Western
wisdom are engraved beneath them. These
heroic groups are the result of the successful
collaboration of A. Stirling Calder, Frederick
G. R. Roth, and Leo Lentelli.
In the Eastern group here pictured, about a
richly caparisoned elephant stand the camel
drivers, Egypt and Assyria; the equestrians,
Arabian and Mongolian; two Negro Servitors;
the Bedouin Falconer and the Chinese
Llama. The pyramidal composition is
massive and the Eastern spirit nobly sus-
tained. On pylons before both arches, Leo
Lentelli's Guardian Genii — calm, impressive,
winged spirits — guard the universe. The
unity of men and nature are denoted by
the Rising and Setting Sun fountains, the
row of Stars, the Zodiac friezes and the
Elements. Of these, "Air and Earth" appear
in the foreground of the picture. In the
distance is "Music," one of the classic groups
contacting the Court with the carnival
spirit. All these are described
on later pages.
[46]
PEGASUS
SPANDRELS, EAST AND WEST ARCHES
These spandrels, by Frederick G. R. Roth,
are interesting artistically, not only for the
eager sweep and sense of bigness not usual
in the narrow scope of a spandrel, but
especially for their warm decorative value
to the wall surface and the aspiring way in
which they follow the rising line of the
archway over which they are placed. The
spandrels are made in very vigorous low
relief. They express the place of poetry in
the Universe. For, in this court that cele-
brates man's achievements in the East and
West, and Nature's gifts to all, the poet on
his winged horse appears to inspire the one
and interpret the other. The spandrels
throughout the Exposition are noteworthy.
It is significant of the artistic conscientious-
ness in detail of those who planned the
sculpture that these and other smaller pieces
are so uniformly beautiful. Notable among
them are August Jaegers' spandrels in the
Court of the Four Seasons and Albert
Weinert's in the Court
of Palms.
48]
THE STARS
A DETAIL OF THE COLONNADE
A sense of eternal spaces, the feeling of calm
and elemental tranquillity, is given to the
Court of the Universe by the surrounding
Colonnade of Stars. The quiet stars look
down upon the activities of men. The semi-
conventionalized Star figure, light and firm,
repeated about the Colonnade is a highly
important factor in the architectural beauty
of the Court. She stands a-tiptoe on the
globe that forms her pedestal; the circle of
her arms about the starry head-dress implies
the endlessness of space. The pointed head-
dress is hung with jewels of the kind that
decorate the tower. These carry the jubi-
lant idea of the tower around the Court.
They twinkle brilliantly where the sun
strikes them and are illuminated by thin
shafts of searchlight at night. This Star
figure by A. Stirling Calder has been repro-
duced in the insignia of the Exposition on
a number of its official engravings and is the
central design of the gold badges of the
Directors and the silver badges of
the Chiefs of Departments.
[SO]
EARTH
DETAIL, ONE OF "THE ELEMENTS'
The Four Elements, heroic pieces by Robert
I. Aitken, are placed at the top of the main
stairways leading down into the sunken
gardens of the Court of the Universe. In
spite of their imaginative themes, these
massive works have the same gripping
reality that characterizes all the later
method of this sculptor. He has treated
the elements, especially "Earth" and "Air,"
in their relation to man. As here pictured,
"Earth," the quiet mother, sleeps on her
rocks, over which little human beings strug-
gle and toil. The rear view of "Air," the
group on the opposite side of the same stair-
way, may be seen in the foreground of the
plate illustrating The Nations of the East.
"Air" holds a star in her hair; she has great
wings and is attended by floating sea-gulls.
Behind her, a man has strapped his arms to
her mighty pinions, signifying the effort of
the present age to ride the winds. "Fire"
and "Water," across the gardens, are shown
in vivid action; "Fire" roaring with his
salamander, and "Water" blowing a
stormy gust across the waves.
[52
THE SIGNS OF THE ZODIAC
FRIEZE ON THE CORNER PAVILIONS
Low relief, the form that is so difficult and
so beautiful and satisfying when perfectly
achieved, is at its finest in the sculptured
mural panels that crown the corner pavilions
of the Court of the Universe and the Fore-
court of the Stars. These are the panels of
"The Signs of the Zodiac," by Hermon A.
MacNeil, who is better known to Exposition
visitors by his finial group, "The Adven-
turous Bowman," on the Column of Progress.
The idea of the overhanging, serene heavens,
expressed by the Star Colonnade, is extended
by these panels. About the central figure
of Atlas or Time, his heavenly daughters
move, bearing the Zodiacal symbols, to
indicate the sweep of the constellations and
the onward march of time. This impression
of the steady, slow passage of .our days is
increased by the gentle motion of the figures,
so slight as to be felt rather than seen. The
frieze has a clean-cut effect almost cameo-
like in its precision and the harmony and
grace of the whole composition have fre-
quently been found suggestive of the
decorations on an Attic urn.
[54]
NATIONS OF THE WEST
GROUP, ARCH OF THE SETTING SUN
As we look across the Court of the Universe
towards the Nations of the West, the vast-
ness of the Court and the commanding
effect of these great groups of the nations
impress us. The high columns of the Rising
and Setting Sun fountains, the monumental
groups of the "Elements," the classic
"Music" and "Dance" of heroic size, are
merged in the splendid sweep of the Court;
the dignified circle of sculptured light-
standards is dwarfed by the perspective.
But these mighty processional masses of the
Nations still dominate the whole. This
western group, companion to the Nations of
the East, centers about the prairie schooner,
which balances the elephant in the opposing
composition, and the girlish figure of a young
pioneer mother, poetically called "The
Mother of Tomorrow." Accompanying her
are represented the nations that have con-
tributed to our American civilization. The
group is by the same sculptors in collabo-
ration who made the group of eastern
nations. The four equestrians, the Latin-
American, the French-Canadian, the Anglo-
American, the Indian and the trudging
Squaw are by Leo Lentelli; the pedestrian
figures, the bowed Alaskan women, the
German and the Italian are by F. G. R.
Roth, who made also the oxen and the
prairie schooner. The Mother and the
crowning symbolic group of "Enterprise"
and the "Hopes of the Future" are by A.
Stirling Calder, who is responsible
for the general composition.
56]
ENTERPRISE
DETAIL, NATIONS OF THE WEST
The prairie schooner that forms the axis of
the Nations of the West is crowned by an
animated, imaginative group so perfectly
co-ordinated with the realistic main compo-
sition that it causes no sense of discord.
This group of "Enterprise" and the "Hopes
of the Future" by A. Stirling Calder, forms
the apex of the pyramidal construction. It
gives the required height and balances the
howdah on the elephant in the companion
group, the Nations of the East, on the
opposite archway. The spirit of Enterprise,
a kneeling figure whose encircling wings
carry the rewards of the world, calls aloud
to summon initiative, encouragement and
perseverance to the brave and adventurous
who advance our progress. This Enterprise
is the pioneer spirit that discovered and
developed America. At the feet of Enter-
prise sit the Hopes of the Future; two boys,
one white, the other, negro. These sound
the note of deep humanity that underlies
the poetry of the conception. This group
of the Western nations has an appro-
priate sub-title, "The Pioneers."
[58]
DANCE
BALUSTRADE,COURT OF THE UNIVERSE
At the top of the longitudinal stairways in
the Court of the Universe are Paul Man-
ship's "Music" and "Dance." These are
typical examples of that sculptor's power
to combine classic restraint, sculptural dig-
nity and grace of line with complete freedom
and untrammeled ease of method. They
express a musical mood, supplying the honor
of musical art to the otherwise incomplete
celebration of man's achievements. In
"Dance," here reproduced, the beautiful
movement of the figures and the garlands,
full in volume but light in weight, are
superlatively well presented. A glimpse of
the companion group, "Music," can be had
in the plate devoted to the Nations of the
East. In this are two classic male figures,
the Composer and the Musician. One holds
an open scroll from which the other reads
as he pauses in touching the strings of a lyre.
A number of distinguished exhibits by Mr. •
Manship, showing all phases of his art,
appear in the Palace of Fine Arts where
he has been awarded the honor
of a gold medal.
[60]
THE RISING SUN
FOUNTAIN, COURT OF THE UNIVERSE
"The Rising" and "The Setting Sun," by
Adolph A. Weinman, stand high against the
heavens on tall shafts that rise from fountain
bowls. They are inspired with a sort of
rapturous imagery and they so inspire the
beholder. "The Rising Sun," a youth with
outstretched wings, a figure suggestive of
gladness, hope and the dawn of high adven-
ture, is a fitting symbol of the sunrise. He
seems "a-tiptoe for a flight" on the summit
of his column; his profile against the sky is
superb. On the opposite column "The
Setting Sun," a young woman with pensive
face, shaded by her hair and drooping wings,
sinks to rest. These figures stand on trans-
lucent shafts that are pillars of light in the
evening. They bear garlanded capitals and
rise from double fountain bowls bound
together by rising and falling jets and sheets
of water. The column bases are finished
with beautiful friezes, one symbolic of the
Sun of Truth, the other of the Peace of
Night. Winged mermen support the upper
basin; sea-creatures gambol
in the lower.
62]
COLUMN OF PROGRESS
IN THE FORECOURT OF THE STARS
One of the most serious and thoughtful
works of the Exposition sculpture is the
Column of Progress which faces the bay at
the end of the Forecourt of Stars. This
column represents with direct imagery the
upward progress of man. The shaft itself is
sculptured with conventionalized waves in a
gradually ascending spiral, upon which a
repeated vessel, the Ship of Life, sails
upward, indicating the slow upward rise of
our life. The lower panels, significant of
man's endeavors, are described on the
following page. The crowning group, "The
Adventurous Bowman," noble in intent and
in sculptural power, is from the hand of
Hermon A. MacNeil. At the highest point
of man's achievement, stands this Adven-
turous Bowman, the super-hero, the leader,
the man with insight into the future, who
shoots his arrow into the Sun of Truth.
Behind him the next man supports and is
protected by him. Beside him kneels the
woman with his reward in her hands. The
frieze beneath the group shows the Burden-
Bearers on whose shoulders the hero stands —
an arresting thought; reminder of
the true values in modern life.
[64]
FRIEZE
BASE, COLUMN OF PROGRESS
The four panels at the base of the Column
of Progress sympathetically express its
exalted idealism. They are by Isadore
Konti, in richly wrought high relief. The
play of color values, the planes of light and
shade, are handled with mastery. These
four panels indicate that the thought, the
dream, the aspiration, the dutiful devotion
underlying all the labors of the common day
are the source of their progress. One panel
shows the higher toils of the mind, as in the
arts and statesmanship. In the center of
this stands the inventor or leader of thought
with the eagle of aspiration above him.
Another shows the motives of love and pain
and prayer and the central power of labor
as movers of the world. Still another,
which is shown here, expresses the humbler
toils of mankind; even they, it says, progress
upward through the thinker who pauses in
their midst to dream. The other panel here
pictured represents the triumph of man's
endeavors, and the successes that spur
to greater achievements.
[66]
PRIMITIVE AGES
ALTAR TOWER, COURT OF AGES
The Tower of Ages, in the Court of Ages,
represents Evolution. The lower group,
here illustrated, presents "The Early Ages."
This shows the development of man from
his physical beginnings among the creatures
of the ooze up through the cave man and
the Stone Age to the growth of the family
ideal out of which sprang a higher civili-
zation. The second group shows "The
Middle Ages." Its three figures are the
Monk, the Armored Bowman, and, at the
apex, the Crusader, the highest expression
of idealism of that period. "The Present
Age" crowns the whole, upon an altar sits
the Woman Enthroned and Enshrined. Her
children, the future, are at her feet. Their
finger-tips touch a symbol, the Cosmos.
One bears a book, the other the wheel of a
machine. Figures of Mutation flank the
central composition. The sculpture on the
Tower of Ages is by Chester A. Beach,
whose emancipated and vigorous manner is
exactly suited to the presentment of
these strong ideas.
[68]
PRIMITIVE MAN
ARCADE FINIAL, COURT OF AGES
In accord with the basic idea of the begin-
ning, change and upward growth of the
human race and its emotional life that are
emphasized in this eastern court, rough,
plastic figures of "Primitive Man" and
"Primitive Woman" surmount the elaborate
arcade. They harmonize with the concep-
tion and treatment of the group on the
Tower of Ages. They are the work of Albert
Weinert, the sculptor who made the much-
admired "Miner" in the portal niches of the
Palace of Mines and Metallurgy, and "Phi-
losophy" on Administration Avenue. He
presents these parents of civilization at the
transition stage when they are still savage
but have become physically upright and
begun to develop the elementary glimmering
of intellectual and emotional consciousness.
They stand as finials on the continued
columns that pierce the arcade wall and
emphasize the arches. Dividing the spaces
above them, on a higher level, are repeated
finials of a pert chanticleer, emblem of
the east, the dawn and
immortality.
[70]
FOUNTAIN OF EARTH
CENTRAL GROUP, COURT OF AGES
Here is one of the most majestic and impos-
ing enrichments of contemporary art devel-
oped by the Exposition. The Fountain of
Earth by Robert I. Aitken has compelled
the attention of the world of art and won
the gold medal for sculpture of the year
offered by the Architectural League. In
this fountain the idea of man's evolution
takes a subtler and more profound signifi-
cance. In general, it shows the development
and growth of love from its lower to higher
forms and the upward effect of .that spirit-
ualization upon the life of the earth. In the
secondary group, a prelude and epilogue to
the main composition, on the prow of the
Ship of Earth are grouped the loves, greeds,
passions, griefs and spiritual cravings of man
and woman, who come and go from the
Unknown to the Unknowable. The great
arms of Destiny, pushing and pointing,
giving and taking, guide the way. Between
the four panels of Life on the Earth, stand
the Hermes, milestones of ancient Rome,
here used as milestones upon the road of
Time. Sea-creatures indicate our origin in
the waters. The description of the panels
follows on succeeding
pages.
72]
SURVIVAL OF THE FITTEST
A PANEL, FOUNTAIN OF EARTH
The central fountain shows the globe of
Earth revolving in the Infinite. Streams of
water by day, clouds of luminous steam by
night, give it the effect of swimming out of
chaos. The powerful panels of Earth are
boldly modeled in pierced relief, giving
statuesque realism as well as the pictur-
esqueness demanded of a panel. They
follow in a natural sequence as regards their
deep and arresting symbolism. The order
is, first, the Southern, then the Western,
Northern and Eastern panels as the fountain
lies. The panel here illustrated is third in
the sequence. In the first panel are shown
the motive Elemental Emotions— Vanity,
Sexual Love and mere Physical Parenthood
without enlightenment. After the next
milestone is the second panel called "Natural
Selection." This presents the approach of
the Strong Man; little wings beside his head
indicate the dawn of Intellect. Women turn
to him attracted by his qualities. Of the
men whom they have desertexl, one resigns
in sorrow; the other prepares to contend the
the issue. In the next phase, here illus-
trated, "The Survival of the Fittest," the
struggle has begun. The following
pages resume the story.
[74]
LESSON OF LIFE
A PANEL, FOUNTAIN OF EARTH
In the panel of "The Survival of the Fittest"
the battle of life is at its height. The men
are in a furious struggle of strength and
prowess. The interplay of human passions,
the contests of wills and capacities, has
developed. The women, too, are taking a
conscious part in life, one weeping and
shrinking from the fray, the other extending
a restraining hand. In the last and noblest
panel, called "The Lesson of Life," we see
the spiritualized and intellect-guided emo-
tions. A helmeted man and pure-browed
woman gaze tenderly in each other's eyes.
Youth, full of impulse and fire, stays to
listen to the voice of Reason. The lover
keeps in touch with the guiding memory of
the Mother. And the cycle is completed
from animal to mental toward the higher
foundation of life upon the earth. Seldom
has more exaltation of thought or intensity
of feeling been infused, without mawkishness
or exaggeration, into a work of art. The
Fountain of Earth, is deeply interpretive of
the trend of modern
thought.
[76]
HELIOS
SEPARATE GROUP.FOUNTAIN OF EARTH
On the wall of the basin of the Fountain of
Earth, is a subsidiary group called "Helios,
the Sun." It is a decorative point of finish
and is also symbolic. The Sun is taken as
the symbol of the Cosmos, the enduring, the
Day, the source of life. Man is pictured as
clinging to it, in the hope of being freed
from the encircling coils of his baser self and
the old earthy entanglements that hold him
down, and destroy him. This group and
' e main fountain, as well as the sides of the
beautiful court, are mirrored in the long
still pool in which the fountain stands — a
pool properly free from splashes or springs
as befits the setting of this intricate and
massive work. The rapid and stable growth
of Robert I. Aitken, sculptor of the Fountain
of Earth, is of particular interest to San
Francisco, the city of his birth, and the
site of several of his
earlier efforts.
[78]
WATER SPRITES
BASE OF COLUMN, COURT OF AGES
The "Water Sprite Columns" in the Court
of Ages bring the somber symbolism of this
court back to the gay spirit of festival. The
sprites are the work of Leo Lentelli; they
have a quaint elfin quality that is very
engaging. The amusing and lovely group
seated about the base of the column have
a certain chic habit of pointing elbows,
wrists and ankles that lends an unworldly
attraction. Their sister sprite at the top
of the slender decorated shaft is mischiev-
ously aiming an arrow downwards. These
Sprite Columns express the gay, frolicsome
mood of the waters. Their feeling harmon-
izes more with the sea-weed and shell
decorations of the court itself and its falling-
water motif than with the weightier sculp-
ture it contains. They create a pleasing
ripple of merriment. Their light and airy
modeling has the beauty of unconscious and
unforced artistry. The columns stand just
within the northern entrance of the court,
guarding a vista of
the bay.
[80]
A DAUGHTER OF THE SEA
NORTH AISLE, COURT OF AGES
In this "Daughter of the Sea," Sherry E.
Fry has given us a nymph who typifies the
life within the watery sphere where it is
deep and broad. She has the robustness,
volume and vigor of the great high seas.
She is deep-bosomed and broad of thigh
and stands as though storms and monsters
had no terrors, as one accustomed to breast
and conquer the waves. Water creatures
supplement her, but she seems made on too
goddess-like a scale to disport herself with
them. It is interesting to contrast this
nymph of the fathomless trough of the sea
with the arch and playful Water Sprites of
the froth and ripple, on the columns within
the Court of Ages. This statue is placed
in the Forecourt of Ages, facing the Marina,
the court that is designed to graduate
the richness of the larger court toward
the more severe facades on the Marina.
Sherry E. Fry's work, in a less rugged
vein, appears upon Festival Hall.
[82]
THE FAIRY
FINIAL FIGURE, ITALIAN TOWERS
The gay and gracefully ethereal towers on
corner pavilions at the entrance to the
Court of Palms and the Court of Flowers,
sometimes called The Kelham Towers for
their architect, are pointed by a long and
pleasing slope of wings. Carl Gruppe's
slender Fairy stands upon them, poised, as
though just alighted. This finial figure has
a pretty wistfulness that suggests the whim-
sical firefly fairies of Peter Pan more than
the conventional gauzy creatures of ordinary
fairy tale, and is more like a female counter-
part of Shakespeare's "delicate Ariel" who
sucks "where the bee sucks" than any other
Creature of fancy. The curving antennae
increase this impression. She carries in her
hand a whirling star. The silhouette of the
figure is attractive and the halo of sky
behind the head framed within the circle of
the wings, lends a distinct charm. It is
pleasant to have this symbol of imagination
over the Exhibit palaces, especially in the
Courts of Palms and Flowers, more suited
to the fairy feeling than, perhaps, any
other spot upon the grounds.
[84]
FLOWER GIRL
NICHE, COURT OF FLOWERS
The perfect balance of this "Flower Girl"
by A. Stirling Calder, saved from any hint
of rigidity by the graceful curves of its
extended lines, makes it an admirable wall
decoration. Harmony with the wall-niche
in which it appears is part of its allurement.
The sculptor has modestly sought to merge
the figure's loveliness into that of the Court
and has succeeded in increasing both. "The
Flower Girl" appears in outer niches of the
attic cloister of the court bearing her name,
the Court of Flowers. A light garlanded
mantle falls like a petal from her shoulders,
the floating edge following the line of the
nymph's divided hair, so that the maiden
seems more like a flower itself than a flower-
bearer. However, she has the sculptural
solidity necessary for her location and resem-
bles not some frail, wind-blown blossom, but
the robust and buxom California blooms
that flourish in the court
below her.
[86]
BEAUTY AND THE BEAST
FOUNTAIN DETAIL, COURT OF FLOWERS
The Fountain of Beauty and the Beast in
the Court of Flowers accentuates the feeling
of gentle fancy and the spirit of the fairy-
tale that are the mood of this and its com-
panion court. It is by Edgar Walter, a
distinguished San Franciscan; he has given
us a delightful, playful and tender rendition
of the old tale that has held the imagination
of the world since it first appeared in
Straparola's "Piacevoli Notti" in 1550.
Since it was popularized by Madame le
Prince de Beaumont in 1757, the story has
been translated into every language. The
fountain shows, with great restraint and
refinement of handling, one of Beauty's
ministrations to the sick monster shortly
before his transformation. It is subject to
the symbolism that may be read into the
story itself; but the note of fairy magic is
the essential theme of the fountain. Quaint
fairy pipers, the unseen musicians of the
Monster's Palace, stand about the pedestal.
The lower basin bears a frieze of charmed
or enchanted beasts, very lightly handled
and not insistent. Their idea is continued
in the court by the gryphon decorations and
Albert Laessle's wreath-bearing Friendly
Lions, at the entrances to
the palaces.
[88]
CARYATID
COURT OF PALMS
The Court of Palms is restful, meditative, a
place where the feeling of magical allure
takes a deeper, more subjective character.
It might well be called the Court of Pools,
for two, quiet pools, one circular, one oblong
except for its concave side to hold the other,
fill the floor of its sunken garden and reflect
its pensive as well as its physical charms.
The Caryatides repeated throughout this
court are the joint work of John Bateman
and A. Stirling Calder. They inject into the
court its fairy spirit without disturbing its
repose. They are Puckish, bat-winged,
goblin-horned fairy creatures of an eerie
beauty, elfin, roguish and quaint. Their
quality is enhanced by the beautiful color
that has been applied to them, to the gar-
landed panels between them, to the car-
touches over the archways and, indeed, to
all the decorations on the walls and columns
of this court. This richness and depth of
color leads the eye to the three splendid
mural lunettes in the arches. These are
Childe Hassam's "Fruit and Flowers" and
Charles Holloway's "Pursuit of Pleasure,"
at the entrances to the palaces, and Arthur
Mathews' "Victory of Culture Over Force"
in the portal that leads to the Court of the
Four Seasons and frames a
vista of the bay.
[90]
THE HARVEST
COURT OF THE FOUR SEASONS
The Court of the Four Seasons, classic in
spirit, finished and chaste in execution,
required a perfect harmony of mass, line
and feeling in the sculpture that was to
embellish it. It was the further task of the
sculptors and mural painters to give the
court its meaning, to illustrate the idea of
the earth's abundance and the fruitful benefi-
cence of the seasons that is implied in the
title of the court. That they have nobly
succeeded in this difficult double achieve-
ment is an actual triumph. "The Harvest,"
by Albert Jaegers, crowning the half-dome,
is a magnificent bit of architectural sculpture.
It seems a faithful part of the surface it
enriches; its outlines are faultlessly balanced;
although its sides are varied, its mass is
superbly centered. The Goddess of the
Plentiful Harvest sits in the slope of an
overflowing cornucopia; a sheaf of ripe
wheat rests in her supporting arm; she is
attended by a lad who can scarcely lift the
weight of fruit he bears. The group is
bound more closely to the half-dome by a
graceful garland applied to the wall-surface.
Mr. Jaegers has further illustrated the
traditional idea of Harvest Home festivals
by the vigorous groups, "The Feast of
Sacrifice," which adorn the huge
pylons of this court.
[92]
RAIN
COURT OF THE FOUR SEASONS
On separate columns flanking the Half-Dome
of the Harvest, Albert Jaegers has given us
classic presentations of the two great
resources of nature that bring the blessing
of rich harvest. These are symbolic figures,
"Rain," here picturedy and "Sunshine." In
"Rain," the nymph of the Earth, holds
upward a shell, her cup, in grateful expec-
tation of the beneficent rainfall, while she
shields her head from the storm with a
cloud-like mantle. On the other column,
that of "Sunshine," the nymph shades her
head with an arching palm-branch, though
she looks up in happy appreciation to the
welcome glow of the sun. As in his "Har-
vest" and "The Feast of Sacrifice," Mr.
Jaegers has here given with perfect restraint
a sense of generous weight, of richness,
profusion and mass that are highly satisfy-
ing in their artistic aspect and are valuable
interpreters of the message of the Court.
August Jaegers, a younger brother of this
sculptor, has embellished the arcade of this
court with an attractive repeated attic
figure. In voluminous, decorative draperies
.' this female figure stands between two young
". orange trees, her arms about them — sig-
• •• nificant of the harvest of California.
[94]
FOUNTAIN OF SPRING
COURT OF THE FOUR SEASONS
The seasons of the year are expressed in the
Court that honors them by four wall-
fountains, the work of Furio Piccirilli. The
sculptured groups are set in colonnaded
niches, against a warm background of deep
pastel pink wall. The water flows over a
cascade stairway. The floors of this and of
the basin are painted pale Oriental green,
giving a luminous beauty to the water,
especially at night in the glow of hidden
lighting. The planting about the niches
and the trailing green on the walls are
component parts of the fountains' beauty.
The sculptor has felt the Seasons in their
gradual changes, as found in California,
rather than in the usual sharp divisions.
He has infused them with a wistful sadness,
however, as at the passing of time. In
"Spring," here illustrated, for example, we
feel something more than the Youth, Flow-
ers, Love and Promise obvious in the
composition — something tender and
romantic but by no means gay.
[96]
FOUNTAIN OF WINTER
COURT OF THE FOUR SEASONS
Fountains of Summer, Autumn and Winter,
by the same sculptor as Spring, just de-
scribed, are similarly installed in their
respective niches in the Court of Four
Seasons. In "Summer" is represented the
earth's early fruition. A young mother lifts
her new-born babe for its father's kiss. A
gleaner harvests the grain. Over all is a
gentle solemnity. In "Autumn," probably
the most admired of the four, against the
background of a fruit-bearing tree, a superb
nymph bears proudly the full jar of wine or
oil. On one side a crouched figure gathers
a richly-laden garland of the vine; on the
other, a youthful, kneeling female figure
plays with a lusty child. Even this period
of completion is marked by the general
pensive beauty. It is emphasized most,
however, in "Winter," here illustrated.
The bowed, worn toiler rests on his shovel,
the spirit of the year waits, still and brood-
ing. But, on the other hand, the sower
is ready to cast the new seeds;
the cycle re-commences.
[98]
FOUNTAIN OF CERES
FORECOURT OF THE FOUR SEASONS
The Forecourt of the Seasons, the continu-
ation of the Court of the Four Seasons to
the Marina, is officially called the Forecourt
of Ceres, because of Evelyn Beatrice Long-
man's Fountain of Ceres which commands
it. Ceres, or Demeter, the goddess of
Agriculture, presided over the Earth's
abundance. By her favor, came the good
harvest; she it was who first instructed man
in the use of the plough. In the loveliest of
antique myths she is the mother of Pros-
perine, the Spring. Miss Longman has
expressed her as exultant, regal, young — far
less matronly than as conventionally pic-
tured— glorying in her power to bless the
co-operative labors of man and nature. She
holds as her sceptre the stalk of corn, and
offers the crown of summer to the world.
The central figure is not more lovely than
the pedestal base on which she stands. A
frieze of dancing maidens, wrought in clean-
cut low relief, Greek in manner, celebrate
the Harvest feast. In the accompanying
illustration, the groups on pylons, by Albert
Jaegers, already described, may be
seen in the background.
[100]
THE GENIUS OF CREATION
CENTRALGROUP, AVENUE OF PROGRESS
"The Genius of Creation," by Daniel Chester
French, has the superb simplicity of all
works of that master of sculptural calm,
intellectual power and straightforward sin-
cerity. Mr. French is said to make no
mistakes in composition; his precision is not
dryness but technical ease and infallibility;
his classical quality is not obedience to
tradition but insight into the underlying
laws that made tradition. Here we have a
splendid example of his perfection of mass,
balance and finish and of quiet, inspiring
depth and directness of feeling. Creation
extends life-giving arms over the universe.
Serene, brooding, blessing, the noble face
emerges from mysterious shadows of the
enveloping mantle. The sculptural quality
of the draperies, their weight and texture
and grace are notable. At the foot of the
pedestal rock, man and woman stand-
facing different sides, but their hands are
clasped at the back of the group. The
Serpent surrounds all, inevitably suggestive
of the story of Genesis, but symbolic of the
waters from which life emerged and the
encircling oneness of the universe.
[102]
THE GENIUS OF MECHANICS
COLUMN FRIEZES, MACHINERY HALL
All of the sculpture about the Palace of
Machinery partakes appropriately of the
size and strength of that huge building
which houses the world's progress in mechan-
ical arts. The sculpture, like the building,
is Roman rather than Greek in type and
modern American in vigor and expression,
as are the chief contents of the Palace.
The sculptor, Haig Patigian of San Fran-
cisco, has expressed this combination with
power and virility. The frieze here illus-
trated appears at the base of massive
columns, interestingly made of simulated
Sienna marble, the warm tones truly repro-
duced. The frieze is extremely energetic,
although well restrained, and supports the
great column as a basic frieze should do,
especially when its subject is so appropriate
to the purpose. Two winged Genii, one
holding a pulley, one upholding the column
upon his hands, alternate with two Disci-
ples, for whom their extended wings create
a background. One of these is comple-
mented by hammer and anvil, the other by
furnace and tongs. Both share the column's
weight on powerful arms. The imaginary
figures show potential strength in repose,
the human figures potent strength in action.
The frieze in low relief is colorful
and decorative.
[104].
THE POWERS
COLUMN FINIALS, MACHINERY HALL
High upon the mighty columns that sur-
round, relieve and give color to the immense
facades of Machinery Palace, are Haig
Patigian's masculine and trenchant figures
"The Four Powers." These are of heroic
height, and create an impression of super-
human size and strength even when raised
so far above the ground. They have a
simple robustness that accords well with
their theme. Two of the Powers are
abstract, the driving powers of thought;
these are Invention and Imagination. Two
are concrete, representing the mightiest
powers of modern mechanics, Steam Power
and Electric Power. Steam Power is forcing
the driving arm of an engine; Electric
Power, the world at his feet, handles the
lightnings. He wears the winged cap of
Mercury, messenger of the gods, for elec-
tricity is the messenger of modern days.
Invention, crowned with the bays of achieve-
ment, holds in his hand a bird-man about
to leave the earth; Imagination, accom-
panied by the eagle making ready to
soar, dreams with closed eyes.
[106]
PIRATE DECK-HAND
NICHES, NORTH FACADE OF PALACES
The northern facades of all the palaces along
the Marina are beautifully embellished above
the vestibules with an intricate plateresque
decoration, modeled after portals in Old
Spain. In the three ornate statue-niches —
in the original probably devoted to saintly
images — are romantic figures by Allen
Newman. It is appropriate that these
figures facing the water-front should repre-
sent, as they do, the Conquistador and the
Pirate Deck-hand, who once were masters
and terrors of the main. The Conquistador
stands in the central canopied niche, the
strong line from his helmet-point down his
sword-hilt making a grimly decorative axis
for the whole. The Deck-hand is repeated
in the niches on each side. This ruthless
minion of sea adventurers is here pictured
beyond the urchin's dreams. The line of
the rope he carries is a touch of excellently
handled decoration. Both these figures are
so well harmonized architecturally and sculp-
turally to their pedestals and location that
the entire facade should be seen for
their proper appreciation.
[108
FROM GENERATION TO GENERATION
PALACE OF VARIED INDUSTRIES
In the portals on the south side of the group
of palaces, facing the Avenue of Palms, we
have again the beauteous old Spanish door-
ways in plateresque design, with niches
filled with modern sculpture. The portal of
the Palace of Varied Industries, copied from
a famous prototype in the old hospice of
Santa Cruz, in Toledo, Spain, was assigned
to Ralph Stackpole. He is a sculptor who
delights to honor the laborer and the crafts-
man and has supplied the figures for niches
and keystone space and the tympanum and
secondary groups in the portal of Varied
Industries with evident affection. He treats
the subject of labor with dignity, according
it respect and not sentimentality. In this
secondary or crowning group, a strong
young man is taking the burden of labor
from the shoulders of the last generation —
an old workman, bowed but still hale and
vigorous. There is a sense of responsibility
and earnestness in the group, but complete
confidence and power. It might well have
been feared that these rugged types of
American life might ill accord with the
ancient ornate doorway. But the deco-
rative proprieties have been
thoroughly sustained.
[110]
THE MAN WITH THE PICK
PALACE OF VARIED INDUSTRIES
In the repeated niches following the line of
the archway in the portal of Varied Indus-
tries, described in the foregoing page, appears
Ralph Stackpole's "Man With the Pick," a
manly tribute to the intelligent, self-
respecting workman who is the basis of our
national life. There is a frank and unaf-
fected realism in the work that attracts by
its uncapitulating sincerity. Its impression
of rugged power and self-respect saves it
from becoming merely photographic, and its
plastic feeling is excellent. In this and the
preceding group, as also in the keystone
figure and the tympanum, the courageous
employment of the actual commonplace
garments of everyday labor instead of ideal-
ized draperies has met success. The tym-
panum group is called "Varied Industries."
It appreciates the various daily labors of
mankind through which civilization con-
tinues and is almost devotional in its
expression — "in the handicraft of their
work is their prayer."
[112]
THE USEFUL ARTS
FRIEZE OVER SOUTH PORTALS
Another artist who appreciates the spirit
and enterprise of our own day and finds
inspiration in its humble labors is Mahonri
Young. This feeling appears in much of
his work and is notable in the panel of
"Useful Arts," as also in the niche figures
that flank it and are really part of the
conception. These appear over the hand-
some portal arch of the Liberal Arts Palace.
The beautiful grouping of the many figures
in the panel is a delight; the planes of per-
spective are skilfully handled, without in
the least marring the flat surface requisite
in a mural panel. This panel of "Useful
Arts" does honor to skilled labor. Men and
women are shown busy with the spinning-
wheel, the anvil, the forge and other
implements of skilled craft. Satisfying
figures in the niches, the Woman with the
Distaff and the Man with the Sledge-
Hammer, continue the same idea. Mr.
Young's place in art is unique in that he
has won distinguished consideration in three
branches — painting, etching and sculpture.
In the Palace of Fine Arts he exhibits twelve
etchings and nine works of sculpture, several
of each devoted to the phases of life
expressed in this panel.
[114]
TRIUMPH OF THE FIELD
NICHES WEST FACADE OF PALACES
In the western facade of the Palaces of Food
Products and Education are examples of the
new tendency in sculpture. These are
"The Triumph of the Field" and "Abun-
dance" by Charles R. Harley, the modernist.
He has made them intricate and teeming
with imagery, giving the beholder much food
for study and personal interpretation. These
works have been useful in arousing much
artistic discussion. They endeavor to ex-
press a mood of richness, fullness and success
and have the effect of laden chariots in a
triumphant pageant. In "The Triumph of
the Field," Man sits upon the skeleton head
of a steer, surrounded by a multitude of
symbols indicative of festivals of agricul-
tural success in the past. Some are pagan,
some Christian. Above his head is the
wheel of an antique wagon; he holds crude
farm implements of long-past days. In
"Abundance," the companion piece, Nature,
a female figure, sits in the prow of a ship,
surrounded by the abundance of land and
sea. Her hands are extended; one, in order
to receive greatly; the other, that
she may greatly give.
[116]
WORSHIP
ALTAR OF FINE ARTS ROTUNDA
This lovely, adoring figure, pure, devoted,
appealing, emblematic of Art Tending the
Fires of Inspiration, is placed upon the
Altar before the Palace of Fine Arts and
can be seen only from across the waters of
the lagoon. Her perfect self-surrender to
her holy task of guarding inspiration's flame
is a sermon and a poem. She is the worship-
ful spirit for whose reward the glow of genius
is sent. She is an image of the perfect
reverence for an ideal. It is interesting to
note that she is by the same hand that
fashioned those rugged laborers on the
portals of the Palace of Varied Industries,
that of Ralph Stackpole. The altar of Fine
Arts, separated from the beholder by the
whole width of the beautiful lagoon, set
before the great rotunda and surrounded by
sculptured barriers and growing green but-
tress walls of flowers that quite shut it ofF
from all access of the passerby, has the effect
of a shrine. This sense of seclusion adds
much to the impressiveness of
the statue.
[118]
THE STRUGGLE FOR THE BEAUTIFUL
FRIEZE, FINE ARTS ROTUNDA
A surpassingly beautiful contribution to the
Exposition art has been made by Bruno
Louis Zimm in his panels of Greek culture.
These lovely panels in low relief, surely
worthy of a permanent medium, are set in
the attic of the Rotunda or Belvedere before
the Palace of Fine Arts, used and known as
the Temple of Sculpture. The panels ex-
press not so much the historical Greek
tradition — though they are, indeed, pro-
duced in the purest Greek manner — as they
do the high spirit and ideals of Greek art,
the devoted seeking for divine fire, the
determined opposition to the trivial and the
base. Each of the panels is once repeated.
The panel of "The Triumph of Apollo"
shows the fiery god of Inspiration, Music
and the Sun in a procession of worshipers;
his flaming wings are the rays of the sun.
The panel of "The Unattainable in Art"
might well be called "The Struggle for the
Beautiful." It pictures the unending strug-
gle with the gross and stupid, both objec-
tive and subjective, that confronts the
champion of the beautiful. Art stands
serene, aloof, unassailable in the center of
the fray. The panel of "Pegasus" shows the
winged steed of the poets controlled by a
true aspirant, attended by Music,
Literature and Art.
[120
GUARDIAN OF THE ARTS
ATTIC OF FINE ARTS ROTUNDA
Two stately "Guardians of the Arts," one
male, one female, of godlike proportions and
great dignity, are placed in the attic of the
Fine Arts Rotunda, separating the panels of
Greek culture. They are the work of Ulric
H. Ellerhusen, who has shown a keen per-
ception of the structural necessities involved
in these immense details. The Rotunda of
Fine Arts, the temple of Sculpture, is one
of the most interesting architectural features
of the Exposition. It is the culminating
beauty of the marvelous colonnade of Fine
Arts Palace, its chief distinction. Within
are some of the treasures of the exhibit
sculpture. Under the arching dome are
Robert Reid's mural paintings described in
a later place. The Weeping Figures on top
of the colonnade itself are also by Mr. Eller-
husen. They express the humility that
ennobles the true artistic spirit and distin-
guishes it from the spurious. Instead of the
self-satisfied Triumph or Victory that
might be expected to crown this last of the
Exposition palaces, these represent the
spirit of Art weeping at the impossibility
of achieving her dreams.
[122]
PRIESTESS OF CULTURE
WITHIN THE FINE ARTS ROTUNDA
High on the decorative columns that mark
the great arches within the beautiful Ro-
tunda of Fine Arts, stand, repeated, the
peaceful, dignified and serene "Priestess of
Culture," by Herbert Adams, an angelic
figure, modeled with the control and calm
that fittingly express the mission of culture
upon the earth. Indeed the work of Mr.
Adams may be said generally to be char-
acterized by that probity and intellectual
beauty ministering to the purposes of cul-
ture. These figures are harmonious orna-
ments to the richly decorated ceiling which
they touch and to which they give a certain
tranquillity. The slope of their wings con-
nects gracefully with that of the arches;
this, with the quiet beauty of the drapery
and its accord with the line of the cornu-
copia, creates a restful architectural effect.
It is a pleasant coincidence that these
Priestesses of Culture look down upon the
statue of William Cullen Bryant by the
same sculptor, an exhibit piece, charmingly
installed at the entrance to
the great Rotunda.
[124]
FRIEZE
FLOWER BOXES, FINE ARTS COLONNADE
The very large flower boxes bearing masses
of luxuriant California shrubs that mark the
Peristyle Walk in the Fine Arts Colonnade
are constantly admired for their own beauty,
the beauty 9f their contents and their part
in the general effectiveness of the delightful
Colonnade they enrich. The friezes are by
Ulric H. Ellerhusen, who made . also the
Weeping Figures and the heroic "Guardians
of Arts" already described. It is interesting
to note that the precision of handling has
given this design, in spite of its size, an
exquisite delicacy. Standing at charmingly
balanced intervals, a circle of maidens bear
a heavy rope-garland. This rope makes a
gratifying line that has given pleasure to
connoisseurs. The frieze is so successful
largely because, though frankly decorative
as suits its purpose, its personality and
charm distinguish it from the pattern-like
or conventional. The landscape planting
in the boxes, in the flower beds and above,
is one of the enduring attractions of this
colonnade and walk. The green is archi-
tecturally massed and the relief of flowers
bright and delicate, never
intrusive.
[126]
THE PIONEER MOTHER
EXHIBIT, FINE ARTS COLONNADE
The "Pioneer Mother" monument, by
Charles Grafly, is a permanent bronze, a
tribute by the people of the West to the
women who laid the foundation of their
welfare. It is to stand in the San Francisco
Civic Center, where its masterful simplicity
will be more impressive than in this colorful
colonnade. It is a true addition to note-
worthy American works of art and fully
expresses the spirit of this courageous
motherhood, tender but strong, adventurous
but womanly, enduring but not humble. It
has escaped every pitfall of mawkishness,
stubbornly refused to descend to mere pret-
tiness, and lived up to the noblest possi-
bilities of its theme. The strong guiding
hands, the firmly set feet, the clear, broad
brow of the Mother and the uncompro-
misingly simple, sculpturally pure lines of
figure and garments are honest and com-
manding in beauty. The children, too, are
modeled with affectionate sincerity and are
a realistic interpretation of childish charm.
Oxen skulls, pine cones, leaves and cacti
decorate the base; the panels show the old
sailing vessel, the Golden Gate and the
trans-continental trails. The inscription by
Benjamin Ide Wheeler perfectly expresses
what the sculptor has
portrayed.
128]
LAFAYETTE
EXHIBIT, FINE ARTS ROTUNDA
Paul Wayland Bartlett's "Lafayette," of
which this is a plaster copy, should be
known and honored by every loyal Amer-
ican. It is considered by many the most
successful equestrian statue of modern times
and it was the gift of the school children of
America to the Republic of France. The
original bronze stands in the Court of the
Louvre, the most coveted location in Paris.
The position of honor among the sculpture
exhibits accorded to this copy, as the central
piece in the Temple of Sculpture, gives the
impressive beauty of the "Lafayette" the
distinction it deserves. Seen at a little
distance, with the background of the lagoon,
the superb bearing of both horse and rider
get their full effect. This interpretation of
Lafayette, commanding, heroic, graceful,
unselfconscious, his Gallic dash and fire
evident but restrained by military and aris-
tocratic control, is stirring and convincing.
The upheld sword is a touch of fine artistry.
Mr. Bartlett was Chairman for Sculpture of
the Exposition Jury of Fine Arts. He has
just completed the pedestal heads for the
House wing of the Capitol at Washington.
His "Dying Lion," exhibited in plaster copy
in the Fine Arts garden, has been coupled
by critics with the "Wounded
Lion" of Rodin.
[130
THOMAS JEFFERSON
EXHIBIT, FINE ARTS ROTUNDA
All the work of the late Karl Bitter bears a
peculiar appeal at this time, since he was
Chief of Sculpture of the Exposition, was so
close personally to many of the men who
made its beauty, was so valuable an influ-
ence to the art of our nation and left so
ennobling a memory as man and as artist.
His sustained, faithful and enduring works
are well represented in the exhibit galleries
by his "Signing of the Louisiana Purchase
Treaty," made for the St. Louis Exposition
and loaned by that city; his Tappan Memo-
rial from the University of Michigan; his
Rockefeller Fountain, and the appealing
"Faded Flowers." A medal of honor was
awarded to him. Thomas Jefferson was
always a sympathetic study to Karl Bitter,
who has interpreted that statesman, scholar
and patriot in his several capacities. The
original of the present statue was made for
the University of Virginia; Jefferson said he
preferred to be remembered as founder of
that institution rather than as President of
the United States. He is here represented
in a moment of meditative
leisure.
[132]
LINCOLN
EXHIBIT, SOUTH APPROACH
Two noble Lincolns by the great Augustus
Saint-Gaudens do honor to the city of
Chicago and are distinguished by the titles
"The Standing Lincoln" and "The Seated
Lincoln." Both have the homely beauty,
greatness and dignity of character that are
essential to the presentment of this national
inspiration. "The Seated Lincoln" here
shown is the original bronze, not a replica.
It was loaned, under the protection of heavy
insurance, to the Fine Arts Department,
and will soon- be installed in a Chicago park.
It is the property of the Lincoln Memorial
Fund, a foundation of £100,000 left by the
late John Crerar to commemorate Abraham
Lincoln in Chicago. Saint-Gaudens, having
made "The Standing Lincoln" with such
success, was given the opportunity for a
new presentation of this great theme. "The
Seated Lincoln" has a soul-stirring expres-
sion of figure and countenance; the crumpled
shirt, the square-toed shoes, the well-known
shawl draped upon the chair, are not more
real than the simple greatness of soul
that somehow expresses itself
throughout.
[134]
EARLE DODGE MEMORIAL
EXHIBIT, FINE ARTS ROTUNDA
The "Princeton Student" made by Daniel
Chester French as the Earle Dodge Memo-
rial, is lent to the Exposition by the trustees
of Princeton University. It is this master's
expression of the type of young manhood
that makes for the winning of respect and
enthusiastic friendship and worthy leader-
ship in our modern college life. Full of
energy and spirit, the youth steps forward,
physically rugged, of athletic prowess and
sportsmanly character, intelligent, frank,
clear-browed, fearless and straightforward of
gaze, bearing his books with care and ease
and draped with the academic gown, symbol
of scholastic achievement. To give this
figure of young manhood the solemnity of a
memorial and still keep it true to the hearty
and cheerful vigor it depicts was a notable
achievement. The setting in one of the
arches of the Rotunda, with the lagoon and
the landscape-planting in the background, is
admirable. Two great universities have in
recent years been graced by Mr. French's
work; his "Alma Mater" on the great stair-
way of the Columbia University Library is
one of the art treasures of
New York City.
[136
FOUNTAIN
FOYER, PALACE OF FINE ARTS
This fountain, by Gertrude Vanderbilt
Whitney, who made the Fountain of
El Dorado for the Exposition, is strikingly
different from that work in treatment and
character, showing a notable versatility and
responsiveness to change in motif. As that
was poetically symbolic, this is a massive
direct work in a more virile and vigorous
manner. It shows three well-modeled nudes
supporting a bowl heavy with richly laden
vines. Its installation in the center of the
entrance hall of the Fine Arts Palace is in
itself a work of art. The white marble
fountain — for this is the original work,
loaned by the artist — is cleverly contrasted
with vivid green water plants in the bowl;
just enough of them and tastefully placed.
And in the rim small trees are set, of
well-chosen verdure, shape and size. The
fountain was awarded a
bronze medal.
138]
WILDFLOWER
GARDEN EXHIBIT, COLONNADE
One of the most varied and interesting
talents among the younger men of distinc-
tion who have exhibited in the Department
of Fine Arts is that of Edward Berge of
Baltimore. The entire originality and free-
dom from mannerism with which each
subject is met, and the variety of the
subjects themselves, are worthy of note, as
are also Mr. Berge's singular lightness and
fluidity of method. His correctness is
apparently unlabored. No small piece has
more admirers than this sweet and merry
little "Wildflower." A secret of her appeal
may lie in the fact that the artist is the
father of the model. The little girl, crowned
with a wildflower, posed with the pertness
of a wayside blossom, her hands extended
like pointed leaves, has a roguishness and
playful grace that charm. With something
of the same humorous whimsy Mr. Berge
exhibits a Sundial showing a nude baby,
buxom and cuddlesome, embracing a new
doll while the old one lies discarded, illus-
trating the legend, "There is no
Time like the Present."
140
THE BOY WITH THE FISH
GARDEN EXHIBIT, COLONNADE
Bela Lyon Pratt, widely esteemed for his
vital and imposing serious works, of which
a splendid collection here exhibited has been
awarded a gold medal, has amused himself
and all of us with this jolly little garden
piece, "The Boy With the Fish." It is a
unique bronze, never to be reproduced or
copied. Though hundreds of persons have
wished to purchase replicas, no one can ever
do so, for the owner stipulated with the
sculptor never to allow reproduction. The
moulds have been destroyed. But no one
can stop the joyous memory in many minds
of this spirited little elf, riding a turtle,
struggling with his slippery fish and having
so much fun about the difficult feat. One
of Mr. Pratt* s more serious works that is
attracting the deserved attention of Expo-
sition visitors is "The Whaleman," a detail
of his noble Whaleman's Memorial. This
sculptor has done much to encourage indi-
viduality and earnestness among the younger
men, not only by example but also in his
capacity of instructor in the Boston
Museum of Fine Arts.
[142]
YOUNG DIANA
GARDEN EXHIBIT, COLONNADE
Janet Scudder, an American artist whose
work has been as highly honored in France
as in her native land, is known chiefly for
her poetic and happy expressions of the
out-of-door spirit. Her fountains and gar-
den pieces are small and sportive but
intensely sincere and never trivial. She has
a pagan sense of natural imagery and a
deep feeling for childhood. Her finish is
delicate and perfect. The "Young Diana,"
here illustrated, girlish, with singularly
natural untrammeled grace — slender, beau-
tiful and novel in conception — was awarded
honorable mention in the Paris Salon of
1911. The young goddess of the chase, the
moon and of maidens, is presented as still
more of a maid than a goddess, glad with
the freedom of girlhood, unconscious of her
Olympian inheritance. Miss Scudder has
received the distinction of having one of her
fountains purchased by the Metropolitan
Museum in New York. This is the Frog
Fountain which, loaned by that Museum,
appears in the Palace of Fine Arts. Her
"Little Lady of the Sea," also here exhibited,
received notable consideration in the Paris
Salon of 1913. She is the holder of a
silver medal awarded by the
present Exposition.
144]
YOUNG PAN
GARDEN EXHIBIT, COLONNADE
One of the charms of the Exposition lies in
the fact that the long rainless summer and
beautiful plant-life of California permit the
garden pieces to be displayed out of doors
in the setting desired for them by their
sculptors. This little Pan of Janet Scud-
der's, for instance, is far happier in his
appropriate mass of foliage than if he were
inside of a gallery. "Young Pan," a garden
figure, is witty, elfin, very engaging. He is
a seaside Pan instead of the woodland
dweller usually portrayed. His foot is —
rather recklessly one would think, were this
not a magical, superhuman being — placed
heel-down upon the back of a great crab.
A pretty pedestal base, with sea-shell deco-
ration, supports the baby god. This base,
by the way, Miss Scudder attributes as the
work of Laurence Grant White. Pan is
enjoying the music of the two long pipes he
blows-playing one of the unplaced wild lilts
of nature, we may be sure. This sense of
enjoyment and his debonair little swagger
are festive and delightful. His mischievous
gaiety communicates itself to the beholder.
This humorous quality appears in another
merry little god by the .same sculptor,
her "Flying Cupid," close at hand.
[146]
FIGHTING BOYS
GARDEN EXHIBIT, COLONNADE
Another evidence of the charm of outdoor
installation is seen in Miss Scudder's Foun-
tain of the Fighting Boys, so beautifully
placed, with the waters in actual play, in
the Peristyle Walk about the Fine Arts
Palace. The 'original of this little fountain
is owned by the Art Institute of Chicago.
There can be no doubt that this fight is
without rancor; the faces of the cherubic
contestants are so gay and good-natured
that only the determined little tug of the
hair, the business-like pressure of chubby
knee upon knee, the uncertain possession of
the big fish that is the cause of contention,
makes us see that a battle is raging. The
boys fight merrily, evidently enjoying both
the contest and the downpour of water that
complicates it. An unexpected accidental
beauty has been added to this and all the
Exposition fountains. Some colorful sub-
stance in the water that plays upon them
has given soft touches of the same rich ochre
tone that appears in the columns. This
increases the effectiveness and takes away
the appearance of boldness or newness,
substituting a weather-beaten and perma-
nent aspect. When long spires of flowers
are in bloom and reflect their beauty in
this little fountain pool, the gayety and
loveliness of the spot are
entrancing.
[148]
DUCK BABY
GARDEN EXHIBIT, COLONNADE
The contagious mirth of "The Duck Baby,"
a garden figure by Edith Barretto Parsons, is
irresistible. This plump little image of good
cheer conquers the most serious; every
observer breaks into answering chuckles as
this smile-compelling small person, holding
fast her victims, beams upon them. The
frieze of busy ducklings on the pedestal base
adds to the amusing impression. This figure
makes such a universal appeal that thou-
sands of postal card pictures and amateur
photographs by exposition visitors have been
sent in a steady stream throughout the
land, scattering the Duck Baby's good cheer
far and wide ever since the Exposition
opened. In the presence of so much that
is weighty and powerful, this popularity of
the "Duck Baby" is significant and touching
indication of the world's hunger for what is
cheerful and mirth - provoking. Another
well-liked and winsome work with a chubby
baby figure at its center is "The Bird Bath"
by Caroline Risque, in which a lovable
baby, with an expression of the tenderest
sympathy, holds a little bird
to his breast.
[ISO]
MUSE FINDING THE HEAD OF ORPHEUS
GARDEN EXHIBIT, COLONNADE
Under the branches of a low tree the poetic .
group by Edward Berge, "Muse Finding the
Head of Orpheus," a white marble group of
superior elegance and texture, arrests the
passerby. A Muse kneels, drooping in
exquisite pathos over the head of Orpheus
found in the waves. The sculptor has
chosen the tragic side of the Orphean myth.
The son of Apollo and the Muse Calliope,
whose heaven-taught lyre charmed men and
beasts, melted rocks and even opened the
gates of Erebus, had failed to win from
death his bride, Eurydice, lost to him for
the second time. As he wandered discon-
solate, the Thracian bacchantes wooed him
in vain. Maddened by failure and by their
bacchanal revels, they called upon Bacchus
to avenge, and hurled a javelin upon him.
But the music charmed the weapon, until
the wild women drowned it with their cries.
Then they dismembered the singer and
threw him to the waves; but the very frag-
ments were melodious and reached the
Muses, who buried them where the nightin-
gale still sings "Eurydice." So runs the
allegory; even drowned by earthly clamors,
slain and torn by wanton hands, the song
of Poetry continues, the weeping
Muses save.
[152]
DIANA
GARDEN EXHIBIT, SOUTH LAGOON
In a setting of surpassing appropriateness
and beauty, installed high amid the tall
shrubbery as if emerging from the edge of
one of her own forests, the huntress Diana
points the arrow she is about to let fly.
This rendering by Haig Patigian, who made
the heroic Powers and other decorations on
Machinery Hall, is simple, classic, pure,
imaginative, poetic in purpose and in effect.
He has softened the traditional coldness of
the goddess by a warmer humanity without
injuring the sense of proud aloofness. The
Maiden goddess of the Hunt bears in her
hand the crescent bow, its lines here strongly
suggestive of those of the young moon, of
which it is the symbol and this goddess the
deity. Mr. Patigian exhibits in the Colon-
nade a companion piece, "Apollo, the Sun
God," twin brother of Diana. A vivid
figure of manly grace, Apollo is presented
in the guise of the sun of the morning. He
kneels and shoots an arrow upward; the
long, pleasing curve of his bow suggests the
outline of the sun above the horizon as
Apollo releases his first bright
shaft of light.
[154]
EURYDICE
GARDEN EXHIBIT, COLONNADE
This "Eurydice," by Furio Piccirilli, pic-
tures the nymph as standing against the
background of an echoing rock, listening to
the distant strains of the magic lyre of her
lover, Orpheus. Orpheus had been taught
to play by Apollo, his father, and could
enchant the animate and inanimate world
by his music. So he charmed the nymph,
Eurydice; but Hymen, god of marriage,
refused to prophesy happiness at their
nuptials and soon Eurydice, in escaping
from a pursuer, trod upon a snake, was
bitten and died. Orpheus' sorrowful music
moved all the earth to pity. Even Pluto
and the keepers of Erebus relented, allowed
the musician to descend into their forbidden
realm and lead Eurydice back to life, pro-
vided he should not turn backward to gaze
upon her until they reached the world of
mortals. But the lover could not resist the
desire to assure himself of her presence,
looked, and lost her forever. Furio Picci-
rilli, who made this marble, is the sculptor
who has graced the Exposition with the
four Fountains of the Seasons in the Court
of that name. For this "Eurydice" and his
other small group, "Mother and Child,"
he has taken a silver medal.
[156]
WOOD NYMPH
GARDEN EXHIBIT, COLONNADE
Isadore Konti, from whose hand came also
the inspiring panels at the base of the
Column of Progress, described in a preceding
page, is the sculptor of this pretty "Hama-
dryad." The Dryads and Hamadryads
lived, according to old legend, within the
trunks of trees and perished with their
homes. So it was an impious act to destroy
a tree without cause. This nymph of the
woods has emerged from the tree-trunk
home or from some rocky fastness and taken
the urn of a naiad, a sister nymph of brook
and fountain, to give drink to the gentle,
confident fawn that is her charge. The
little animal is lapping the stream that flows
from the overturned vase. This study in
white marble follows tradition and is
regarded chiefly for its gentle grace and
careful tooling. It is harmoniously com-
posed and has a beautiful surface. Mr.
Konti's varying moods are represented in
the Fine Arts collection by a number of
works, each revealing a different intention —
from the pretty and restful, like this,
to the large and stirring.
[158]
L'AMOUR.
GARDEN EXHIBIT, COLONNADE
There are few more complete examples of
delicacy of feeling and of refined, caressing
perfection of tooling than this exquisite
marble group, "L'Amour," by Evelyn
Beatrice Longman. The purity of its
emotion, the tenderness and fidelity of its
poignant pose, are surpassed only by the
marvel of surface finish. The surface has
been gone over so lovingly, so painstakingly,
so repeatedly that the marble has taken on
the soft, warm impression of living flesh.
And the gentle unstrained modeling has the
plastic grace of the human body. Miss
Longman, winner, by the way, of a silver
medal for exhibits in the Fine Arts, is the
maker of the Fountain of Ceres in the Fore-
court of Seasons that has been described.
She is an earnest and serious artist of
abundant talent whose work is treated with
ever-increasing respect and admiration. She
won the competition for the doors of the
Naval Academy at Annapolis, for which
there were many distinguished aspirants.
She presents Love in the group under
discussion as a rarefied and inspiring emotion
in which the physical and spiritual com-
mingle and "sense helps soul" as well
as "soul helps sense."
160
AN OUTCAST
GARDEN EXHIBIT, COLONNADE
This epic figure, "An Outcast," compelling
by its earnestness and the tragedy of its
motive idea, is handled with firmness, assur-
ance and a perfect sense of volume and
sculptural mass values. It is exhibited by
Attilio Piccirilli, the artist who designed the
Maine Memorial in New York City. The
appeal of "An Outcast" is too direct to
need any illumination. Its frank bigness
and physical power and tenseness, so sugges-
tive and so desperate, are Rodinesque. But
though the work is influenced by that
master's school and thought, it is by no
means a copy of his method. This sculptor
has a number of interesting groups in the
exhibit palaces and has been granted a gold
medal. The dejected and desolate Outcast,
so huge and so tragic, is in sharp contrast
with the quaint and fanciful "Fawn's
Toilet," by the same hand, at the entrance
to the Colonnade. Attilio and Furio Picci-
rilli, whose work has been here noticed,
are brothers, members of a
family of sculptors.
[162]
THE SOWER
GARDEN EXHIBIT, COLONNADE
One of the most useful services of a great
Exposition, especially as it relates to the
world of art, is its service in bringing to the
attention of the public the power of new and
rising stars on the horizon of achievement.
Albin Polasek has made his work generally
felt at this Exposition, where he received a
silver medal. He is one of the most talented
sculptors of the American Academy at
Rome. He won honorable mention in the
Paris Salon in 1913, and the Prix de Rome
in 1910. He was the holder of the Cresson
scholarship. His "Sower" was the culmi-
nating work of his early labors, the product
of his final year at Rome, in which year a
heroic figure is required of every student.
It caused the critics to prophesy for this
sculptor the future that is developing. Mr.
Polasek's work has the same unassailable
rigor of truth as that of Charles Grafly,
who was his teacher. "The Sower" enno-
bles an humble theme. It has sweep and
life and distinction of bearing. In "The
Girl of the Roman Compagna," close at
hand in this Colonnade, the sculptor shows
his equal power in a softer theme. The
Roman girl is a well-poised and beautiful
expression of the spirit of old Rome in
the days of her grand simplicity.
[164]
THE BISON
GARDEN EXHIBIT, SOUTH APPROACH
These mighty monarchs of the plains, now
disinherited by human progress, the Amer-
ican bisons, are here more than portrayed;
they are realized. Their essential character-
istics, their strong mass, bulky without
clumsiness, are made present and convincing
in these two statues by A. Phimister Proc-
tor, a master of animal sculpture. There is
good reason for the living and sharp aspect
of these plaster models. They are not copies
of the permanent statues; they are the sculp-
tor's own original plasters from which the
permanent pieces were cast. A number of
Mr. Proctor's animal studies stand in the
great zoological parks of our nation. He
does not idealize or humanize the beasts
he depicts; but he understands them and
reverses the underlying life that gives them
their racial and personal individuality.
Partly his Canadian love of the wild, partly
a technician's delight in mastering this diffi-
cult phase of art, has caused a lifelong
devotion to animal studies. They are not
photographic, but combine the qualities of
sculptural beauty with rugged and imposing
freedom. A varied and stimulating collec-
tion of Mr. Proctor's work, exhibited at the
Exposition, has won a gold medal. It
includes the famous "Princeton
Tiger."
[166]
THE SCOUT
GARDEN EXHIBIT, SOUTH LAGOON
Cyrus Edwin Dallin has devoted many years
and much of his high talent to the poetry
and beauty of the American Indian. He
says that this Scout is to be the last of his
long series of Indian studies, and he believes
it to be the best of them all. Surely it has
an exalted beauty and is a noble example of
Mr. Dallin's firm, finished, accurate method,
perfection of restraint and free grace of
modeling. It has a clear and beautiful
directness that is almost Greek in feeling.
Those who do not believe in the pictur-
esqueness and dignity of the Indian as
celebrated in these bronzes, need only to
have seen the photographs in the exhibit of
the Indian Memorial booth in the Palace
of Education. Some of the chiefs there
shown have the dignity of Caesar and the
knightly splendor of heroic periods. Copies
of almost all the Dallin Indians and other
of his notable works appear in the Palace
of Fine Arts, where Mr. Dallin is a
gold medalist. They include the famous
"Appeal to the Great Spirit/' which
stands before the Boston
Museum of Art.
[168]
THEjTHINKER
EXHIBIT, COURT OF FRENCH PAVILION
It is a satisfaction that at the entrance to
the Pavilion of France should stand this
great work of the master sculptor of our age.
This is a replica of "Le Penseur" (The
Thinker), placed before the doors of the
Pantheon in Paris. Paul Gsell says of it:
"Before us, the Thinker, his fist beneath his
chin, his toes clutching the rock upon which
he sits, bends his back beneath the over-
powering weight of a meditation that sur-
passes the endurance of the human spirit."
Here, tremendous, rugged, primitive human
strength at its highest power suffers under
the first great grapple of the human mind
with problems of the unknowable universe.
It is majestic, true, an expression of our age;
it is everlasting art. Rodin kept this replica
outdoors for a long time, thinking the rigor
of the elements helpful to its finish. "The
Thinker" and other Rodins in the French
Pavilion are loaned by Mrs. A. B. Spreckels
of San Francisco. Americans and American
museums have long appreciated this master
of whom Octave Mirbeau says: "Not only
is he the highest and most glorious artistic
conscience of our time, but his name burns
henceforth like a luminous date in
the history of art."
170
EARTH
FRUIT PICKERS, COURT OF AGES
In the corners of the ambulatory about
the Court of Ages, crystallizing the color
and design of its long, arched ceiling, are
the opulent, warm, vibrant murals by Frank
Brangwyn. They introduce to the general
public of America this Belgian-English artist
who has long been esteemed among the
great of the world. He has presented here
the Elements, two interpretations of each,
in relation to their service to simple human
life. The paintings are neither allegorical
nor photographic, but highly interpretative
of the luxuriant picturesqueness of nature
and the everyday labors of man. The
luminosity of color, dash and daring of
contrast, fairly crackle with life and yet have
rich depths of quietness. The two panels
of Earth glow with the earth's abundance.
The first, the "Fruit Pickers," here shown,
in which harvesters gather fruits from high
trees and the laden ground, is notable for
its marvelous massing of composition and
color. The second, "Dancing the Grapes,"
is remarkable for its shimmering contrasts
of light and shade. In both you get the
tang of, the harvest season.
[172]
FIRE
INDUSTRIAL FIRE, COURT OF AGES
The two Fire panels represent this element
in its two phases of serviceability. The
first shows its simplest use, that of giving
warmth to man; the second, its more devel-
oped employment as an agent of manufac-
ture. In the "Primitive Fire," a gray,
woodsy plume of smoke rises to the autumn
sky. A group of workers have made a fire
at the edge of a grove; they surround it,
some encouraging the growing blaze by
blowing upon it, others leaning forward
toward its warmth. The thin pillar of
waving smoke is executed with such fidelity
that it explains why this artist's admirers
dwell upon his handling of fugitive surface
tones, as smoke or clouds, as much as upon
his more obvious excellences. In "Industrial
Fire," here reproduced, the smoke rises not
in fine line, but in heavy mass from a kiln.
It is a rich cloud, colorful with iridescent
metallic lustres. Workers feed the blaze,
their warm flesh glowing in the mixed light.
Whole vessels and broken bits of pottery
are heaped and scattered upon
the ground.
[174
WATER
FOUNTAIN MOTIVE, COURT OF AGES
As the Earth panels are luxuriant, teeming
with a sense of plentitude, and the Fire
panels are moving with the grace of rising
smoke, those that represent the phases of
Water are moist and lush. In the one here
shown, "The Fountain," people have come
through the damp grasses, bearing their
bright vessels to fill them with water that
flows downward from a spring in a long,
fine, curving bow. The beautiful grouping,
the pose of the figures and the graceful lines
of the vessels are unforgetable. The air is
fluid; great white clouds stretch across the
sky, which has the same liquid beauty as
the water in the background. Water-birds
and dewy flowers add life and color. The
grateful use of water for man's thirst is
beautifully told. In the other water panel,
"The Net," hardy fishermen, standing in
the water-reeds and blossoming flag-lilies,
haul in the last catch of the brightly dying
day. Others bear on their heads baskets
heavy with the success of earlier castings.
Heavy sea-clouds are tinted by the
late afternoon sunshine.
[176]
AIR
THE WINDMILL, COURT OF AGES
The two panels of Air may well be thought
of as the air that moves and the air that
supports. In the first, "The Windmill,"
which is illustrated, the motion of the wind
and of the world it blows is dazzling. The
field of golden grain, bright in the glow of
the sun that has just broken through the
rain clouds, is quivering with graceful
undulations. The great wings of the wind-
mill turn, with flapping sails. The little
kites are blown tempestuously. The gar-
ments of the workers wave forward as they
walk, braced against the wind that blows
from behind them. A brilliant rainbow and
wind-blown dark rain-clouds tell the end of
a passing storm. In the second Air panel,
which is called "The Hunters," the air
supports the arrows just shot from the bows
of hunters who hide behind the last trees
at the edge of a wood. It bears also flocks
of homing birds and light clouds blown
across a ruddy sunset sky.
178
HALF DOME
COURT OF THE FOUR SEASONS
The murals in the Court of the Four
Seasons are the work of Milton Herbert
Bancroft. They are smooth, flat, highly
decorative to the wall surfaces into which
they blend with rare discretion and harmony.
They have a soft beauty of coloring and a
classic definiteness of outline that accord
well with the pure feeling of this court.
Mr. Bancroft has kept two ideas consistently
throughout these murals. One is the abun-
dance of rewards and delights brought by
the changing seasons; the other, the fruitful
labors of man. In this second idea special
honor is tendered to those who labor in the
arts and artistic crafts. To these two ideals
the sculptor has given the unifying title,
"The Pleasures and Work of the Seasons."
The panels of The Seasons appear in the
walls of the fountain niches. In the place
of honor is the beautiful Half Dome; beneath
its colorful decorated roof are the great
panels, "Man Receiving Instruction in
Nature's Laws" and "Art Crowned by
Time." In the former, Nature holds her
child, Man, in her arms. She has sum-
moned for him all the forces of the Universe,
who attend in a group of calm dignity.
She teaches him that by obedience to her
laws all these forces, Earth, Fire, Water,
Life, and even Death, will serve and never
harm. The other panel is described
on the following page.
[180]
ART CROWNED BY TIME
COURT OF THE FOUR SEASONS
In this calm and classic panel, "Art Crowned
by Time," the sculptor has done honor not
only to the Fine Arts but also to those artistic
crafts that fulfill the perfect combination
of use and beauty. In the center of the
panel stands Art, a superb, regal figure,
serenely indifferent to the wreath of appre-
ciation with which she is being crowned by
the hand of Time. She is surrounded by
her attendants, the Useful Crafts: Weaving,
with her distaff; Glasswork, holding care-
fully a delicate example of her skill; Jewelry,
a beautiful youth severely garbed, bearing
an ornate casket; Pottery, with a finished
vase upon her knee; Smithery, carrying in
his strong arm a piece of armor; and Print-
ing, cherishing in both hands a beautiful
clasped book. The panel has a fine Olym-
pian dignity and an ornateness that becomes
simplicity through grace of handling, and
does not mar the correct mural flatness of
surface. In spite of the gracefully com-
posed grouping each figure has individual,
almost statuesque, distinction. The treat-
ment of the draperies is
interesting.
[182
THE SEASONS
COURT OF THE FOUR SEASONS
The fountain niches of the Seasons in the
Court of the Four Seasons are graced by
Milton Herbert Bancroft's appropriate pan-
els. Two of these, one on each wall of the
fountain niche, are devoted to each season.
One represents the pleasures that that
period of the year brings forth for man; the
other shows the duties it demands of him.
In "Spring," we have the poet's conception
of the time of blossoms and garlands, of
young loves, piping shepherds and dancing
maidens, while the goddess of the season
dreams of coming glories. In the com-
panion panel, "Seedtime," the waiting farm-
ers attend her as she stands, sceptered with
an Easter lily, and extends her benison on
the land. "Summer" crowns the victors in
athletic sports; while in "Fruition" the
goddess of the season receives the tribute
of the successful workers of the soil. The
panel called "Autumn" is gay with the
dance of the vineyard festival; three happy
figures modeled with grace and much refine-
ment are placed on a background divided
into panels by a vine. But "Harvest" is
quiet and serious; the goddess, bearing the
torch of Indian Summer, receives the sheaves
of the gleaners. So in "Winter," one panel
shows Festivity, with the old bard, the
Christmas garland and the gaieties of the
home; the other, the distaff by the fireside,
the huntsman and the
wood-cutter.
[184]
WESTWARD MARCH OF CIVILIZATION
ARCH, NATIONS OF THE WEST
Decorating the inner walls of the Arch of
the Setting Sun are two long, colorful panels
by Frank Vincent Du Mond, inspired by
the historical background of the West. They
have refreshing vividness of color, clear
precision of draughtsmanship and a bright
enthusiasm for their subject. With a narra-
tive quality unusual in a mural they com-
memorate the adventurous spirit that led a
stable civilization in the march across the
continent of America. In the panel,
"Leaving the East," emigrants depart from
a barren, snowy coast, upon which stands
the meeting-house, source of so many
national traditions. A youth bids farewell
to his sorrowing friends; a group of adven-
turers bearing the bare necessities of life
leads the way to the frontier. In the central
group, surrounding the old Concord wagon
laden with household goods, appear the
Jurist, Preacher, Schoolmistress, the Child —
Symbol of the Home — the Plains' Driver
and the Trapper. A symbolic figure, "The
Call of Fortune," accompanies them. Some
of the characters are actual portraits, as are
also the Artist, Writer, Scholar, Architect
and Sculptor in the opposite panel, "The
Arrival in the West." In this the lavishness
and opulence of California welcome the
pioneers. Mr. Du Mond is a member of
the International Jury of Awards in the
Fine Arts Department of the
' : Exposition.
186]
DISCOVERY— THE PURCHASE
TOWER OF JEWELS
The murals in the great tower are properly
dedicated to the Panama Canal. In them
William de Leftwich Dodge admirably
interprets its history, labors and triumphant
achievement. Each of the long decorative
bands is divided into three panels. The
central panels, 96 feet long, are, on the
west wall, "The Atlantic and the Pacific,"
celebrating the united nations face to face
across the united waters, and on the east,
"The Gateway of All Nations,"^ an alle-
gorical pageant of triumph. The "Gateway
of All Nations" is flanked by "Achievement"
and "Labor Crowned," noble and timely
tributes to the Workers who made the canal.
Those here reproduced, opposing them on
the western wall, are historic. "Discovery"
shows Balboa, "on a peak in Darien," in
awe at his great moment of discovering the
Pacific. The Spirit of Adventurous Fortune
attends him. Watching him, sits the Indian
guarding his treasures, a tragic prophecy in
face and figure. "The Purchase" com-
memorates the part of France in this
achievement. Columbia is purchasing the
title from her sister republic. American
workmen, led by Enterprise, take up the
tools that French laborers have
relinquished.
188]
IDEALS OF EMIGRATION
ARCH, NATIONS OF THE EAST
The mural panels in the Eastern arch are
devoted to the ideals and motives that
brought men across the sea. They are by
Edward Simmons and show that fresh juve-
nility of touch, that exquisite lucid tender-
ness of color and gentle lightness of motion
that give his work its delightful poetic
quality. But Mr. Simmons' art has always
a deep accent and the imagery in these
panels touches fundamentals. "Visions of
Exploration," the upper as here pictured,
are Hope and Illusory Hope — she who casts
bubbles behind her — Adventure, following
the lure of the bubbles; then, in a dignified
central group, Commerce, Imagination, Fine
Arts and Religion; these, followed at a little
distance by Wealth and The Family, potent
motives of the immigrant of today. In the
background, the Taj Mahal and a modern
city indicate the ideal and the practical.
On the opposite panel, called the "Lure of
the Atlantic," the Call of the New World,
a youth blowing a trumpet, summons the
brave explorers, the man of Atlantis, of the
Classic Age, of Northern and Southern
Europe, the Missionary Priest, the Artist
and the Modern Immigrant. They are fol-
lowed by the Veiled Future, still heark-
ening to the onward call.
[190
THE GOLDEN WHEAT
ROTUNDA, PALACE OF FINE ARTS
The richly ornate ceiling of the Rotunda
of Fine Arts is embellished by a double
series of eight panels from the brush of
Robert Reid, in the luminous, fervid, joyous
vein that characterizes the method of this
highly honored American artist. The task
assigned him here was a test of skill. The
arched effect, so beautifully achieved, and
the great accomplishment of merging the
huge, brilliant panels into the decorative
plan, were not the only difficulties. He had
also to calculate the scale of proportion to
a mathematical nicety, to make the figures
large enough to appear the proper size when
viewed so high overhead. The panels are
in two sequences, four of them devoted to
each subject. The sequence of which an
example is illustrated is the Four Golds of
California: "The Golden Poppy," the "cup
of gold" that makes the spring a glory on
California hills; "The Golden Fruit," the
citrus fruits that are her pride; "The
Golden Metal" that called the world to her
hill-sides, and "The Golden Wheat," here
shown, the treasure of her fields, borne high
in honor. These alternate with the sequence
of the Golden Arts, described on
the succeeding page.
192]
ORIENTAL ART
ROTUNDA, PALACE OF FINE ARTS
The great panels of the Golden Arts alter-
nate, in the ceiling of the Rotunda of Fine
Arts, with the Four Golds of California.
All of these panels so tone their brilliancy
into the great sweep of the ceiling that the
beholder gets a sense of the beauty of the
whole rather than that of any part. This
arching, floating unity of the ceiling is an
admirable example of the self-control of the
muralist. The Golden Arts are interpreted
by symbolic groups including a larger num-
ber of figures than The Four Golds. They
are entitled "Inspirations of All Art,"
"Ideals in Art," "The Birth of European
Art," and "Oriental Art," here illustrated as
typical. In this, against the soft but spark-
ling background of bright sky and clouds
that supports all of the panels, are set with
much verve the historical, legendary and
romantic inspirations of Oriental art. The
group is dominated by a contest between an
eagle and a knight mounted upon a dragon —
based upon a legend of the Ming dynasty.
Fugi, the sacred mountain, is in the distance;
the sacred dog attends the Chinese hero in
the foreground. A beautiful Japanese
woman — indicating the inspiration of
romance, East and West — sits among
flowers. The space is filled in a manner
appropriately and charmingly suggestive
of Oriental composition.
[194]
THE ARTS OF PEACE
NETHERLANDS PAVILION
The Pavilion of The Netherlands is inevi-
tably reminiscent of the Peace Palace of The
Hague, by natural association of ideas and
because of the spirit of its central mural
painting, "The Arts of Peace." It is there-
fore an interesting fact that Hermann Rosse,
the artist who painted this imposing work,
and, indeed, designed the entire interior
decoration of the pavilion, was also muralist
and decorator of the Palace of Peace. The
pavilion walls and hangings — steel blue, olive
green and silver grey, relieved by quaint
conventional stencils of orange trees and
tulips and severe shields of the four divisions
of the kingdom — has a broad, cool puritan-
ism that lends itself well to the rich depth of
the painting. Holland holds high the image
of Peace, surrounded by the peace-nurtured
arts and industries on whose support all
human welfare rests. Among them stand
not only representatives of trades and crafts,
with their symbols and implements, but also
the Art of Motherhood and the Art of Play
shown by a happy child. Ships of all ages
in side-panels and background tell of the
maritime history of Holland which so largely
and peacefully colonized the world. Beneath
the painting is a comforting and
inspiring legend.
196]
PENN'S TREATY WITH THE INDIANS
PENNSYLVANIA BUILDING
The Pennsylvania Building was designed
with the patriotic purpose of enshrining the
Liberty Bell. The Bell stands in a loggia
between two wings, the architectural motif
following that of Independence Hall. On
the walls of the loggia are two mural lunettes
of distinction by Edward Trumbull of Pitts-
burg. Their deep glowing color and massive
grouping mark Mr. Trumbull a worthy
pupil of his master, Frank Brangwyn.
"Penn's Treaty with the Indians," here
given, shows William Penn and the foremost
of his shipmates on "The Welcome" making
with Chief Tamanend and his braves the
Treaty of Shackamaxon in 1683, the treaty
that never was broken. The plainness of
the kindly Friends, the barbaric splendor of
the Indians, the deep green of the over-
arching Treaty Elm and the lovely typical
Pennsylvania landscape have enduring
attraction. The panel is in contrast with
Mr. Trumbull's vigorous and burning mod-
ern picture, "The Steel Workers," on the
opposite wall. In the reception room of this
building are seven delightful small panels
by Charles J. Taylor, showing the early life
of Pennsylvania villages. They are painted
in the quaint style of old colonial decorations
and have charm, humor, naivete and
beauty too pleasing to be
overlooked.
[198]
RETURN FROM THE CRUSADE
COURT, ITALIAN PAVILION
The courts and palaces of Italy, with their
appearance of age and their remote, shel-
tered calm, present an education in artistic
reserve and decorative uses of space that
all who linger may learn. They represent
four centuries of architecture, of three
historic types. The lovely piazzetta with
its antique well is the center of beauty.
On one of its walls is what appears to be
an ancient mural, soft, flat, with that faded,
velvety coloring associated with age. It
was recently painted by Mathilde Festa-
Piacentini, in the ancient manner to harmo-
nize with the court. It represents "The
Return from the Crusade" of one noble
Pandolfo, and bears date and description
in Latin. Quaint old-time stiffness and
weather-worn coloring combine with modern
correctness and fluency. The young artist
is the wife of the architect of the pavilion
and has won a silver medal in the Italian
section of Fine Arts. Below this lunette
stands a bronze copy of an antique David
with the marble head of Goliath. Other
interesting murals appear in Italy's pavilion,
by Pierretto Banco and Bruno Ferrari,
son of the sculptor, Ettore Ferrari.
[200]
THE RICHES OF CALIFORNIA
TEA ROOM, CALIFORNIA BUILDING
The tea-room of the Auxiliary to the
Woman's Board, in the California Building,
was decorated by Florence Lundborg, a
Californian whose work has won consid-
eration in this country and in France. In
her large mural, "The Riches of California,"
one of the most extensive ever painted by a
woman, and in the supplementary medal-
lions she has expressed the generous abun-
dance of California's fruitage. Feeling a
similarity between copious California and
Sicily, where she has lived and painted, the
artist chose for her text a line from Theoc-
ritus describing that country: All breathes
the scent of the opulent summer, the season
of fruits. This inscription, in old Spanish
lettering, surrounds the great canvas. Across
a restful, soft-toned landscape, bright but
tempered, the peaceful, happy harvesters
bear homeward the plenteous fruit. A mood
of quiet gladness is over all. The window
arches, throughout the soft gray walls of the
room, are marked by brilliant medallions of
fruit and flowers, sumptuously composed
upon a gold background.
[202]
HERE ENDS THE SCULPTURE AND MURAL
DECORATIONS OF THE EXPOSITION, WITH
AN INTRODUCTION BY A. STIRLING CALDER.
THE DESCRIPTIVE TITLES HAVE BEEN
WRITTEN BY STELLA G. S. PERRY. EDITED
BY PAUL ELDER. PUBLISHED BY PAUL
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