Palaces and Courts of the Exposition

A Handbook of the Architecture Sculpture and Mural Paintings withSpecial Reference to the Symbolism

ByJuliet James

"The trail is lost, the path is hid and windsthat blow from out the ages sweep me on tothat chill borderland where time's spentsands engulf lost peoples and lost trails. "

Marian Manville Pope

A Foreword

The Pastel City by the Sea

There is a hill-crowned city by a silver sea, near a Golden Gate. Forages the water has washed from an almost land-locked bay against thishill-crowned city, and on its northern side has created of the shore anamphitheatre stretching for some three miles to the western headlands. 

Behind this amphitheatre rises, in terraces, the steep hills of thiswater-lashed city, and in part, a forest of pines stretches to the west. Man has flanked this reach of shore by two lowering forts, and in front, across the sapphire sea, one looks onto the long undulations of hills, climaxed by grand old Tamalpais. 

Just three years ago and one saw in this same low-lying shore only amarshy stretch, with lagoons working their way far into the land - thehome of the seagull. 

There came a time when, had you looked closely, you would have seencoming thru the Golden Gate a phantom flotilla of caravels, freightedwith clever ideas. 

On the vessels came; at the prows were several noble figures: Energy, Enterprise, Youth, the Spirit of the East, the Spirit of the West, Success, and in the last caravel, the stalwart Mother of Tomorrow. 

They had dug and delved with mighty Hercules and had created that greatgap that has severed two continents. Then, leaving their work to befinished, they had sailed on to celebrate their triumph in the Land ofEl Dorado, the region of their desires. 

In a shallop in front of these floating winged vessels, riding on thewaves, came Venus, rowed by the fairies - in her hand the golden ball ofopportunity. 

The mermaids, the dolphins, the little sea-horses sported in the wake ofthese vessels, leaving a long line of foam and silver as they sped on. 

Over the waves they came to the Golden Land of the Pacific. They mooredtheir vessels by the fort-flanked shores, and stepping out upon thehaunt of the seagull, they moved boldly across this unsightly stretch ofwave-washed land. 

Enterprise and Energy pushed ahead: the Fairy ever flitting near. At asignal from Enterprise the Fairy turned her wheel, Venus threw hergolden ball of opportunity, and lo! out of the foam of the sea rose aVenus city with the round sea bubbles resting on the roofs. 

One day a man appeared on the hilltop o'erlooking this wondrous city andby his magic power, being filled with music, with color-music, he cast aspell and behold a pastel city by the sea - such an one as only thosewho dream could think of; a city glowing with warmth of color, with asoftness and mystical charm such as only the brain of Jules Guerin couldproduce. 

He is the conductor of this wondrous symphony, this beautiful Mozartfantasia, and if you listen, you can hear the strains of the greatbeautiful melodies wafted now east, now west, now north, now south, rising to great climaxes, falling back to great chords of harmony, or, in an allegro movement, causing you almost to trip with delight in thejoy of it all. 

Your eye is enthralled with the beauty of the coloring. One seesturquoise green domes floating in a silver-moated ether, long colonnadesof glacial ice columns leading to regions beyond, where quiet silverpools throw back the mirrored glories. 

Battalions of daffodils holding their long sabers stand in the SouthGarden, making ready for the great festival. Soon those daffodils willraise their golden trumpets and will sound the fanfare at the opening ofthe Great Jubilee, and up will spring two hundred thousand wide-eyedyellow pansies to look and wonder at the marvelous beauty and help inthe hallelujah chorus that will be one great poeon of joy - one splendidhymn of praise. 

And the blue eucalypti against the walls will lend their voices, theyellow acacias will add their cadences; while down by the great lagoon, ten thousand periwinkles will dance for joy. 

Far out on the waters will be intoned to the rhythm of the waves achorus from white-robed water-lilies, who, like a throng of choristers, will send their anthems rippling over the sun-kissed waves. 

The Spirit of the East that has added its domes, its minarets, itssoft-glowing colors, will remain and join hands with the Spirit of theWest, that strong, pulsating energetic spirit, and the harmony producedwill vibrate from the shores of the Occident to the shores of the Orientand bring about a better understanding, a great world peace. 

And the world will come to listen. The great music will sound across thewaters, and the world will be the better in its way of thinking, ofworking, of living - and all because of the great beauty. Wonderful isit to be living today, to have the opportunity of watching the beginningof this mighty growth; to be present at one of the world's greatestevents. 

And the pastel city by the sea will not leave us, for, as the years goon, whatever be our mission, the vision of this dream-city will floatbefore us, leading us to finer, higher works, strengthening our ideals, and causing us to give only of our finest fiber. 

Table of Contents

Foreword - The Pastel City by the SeaGround Plan of Palaces and CourtsPrayers at Opening of ExpositionChiefs of DepartmentsArchitecture and ArchitectsSculptors and Mural PaintersMaterials of the PalacesMaterial of the StatuesMachinery PalacePalace of Varied IndustriesFlora of the Avenue of Progress and the Avenue of PalmsPalace of Manufactures and Palace of Liberal ArtsPalace of EducationAisles between the PalacesCourt of the UniverseCosmical Side of the Court of the UniverseHuman Side of the Court of the UniverseHistorical Side of the Court of the UniverseEthical Side of the Court of the UniverseFloral Side of the Court of the UniverseFestival Side of the Court of the UniverseTower of JewelsJewels on the TowerColumn of ProgressCourt of the AgesNorth Court of the AgesCourt of the Four SeasonsCourt of PalmsCourt of FlowersItalian TowersPalace of Fine ArtsPalace of HorticultureSouth GardensFestival HallColor SchemeIndex

List of Illustrations

"The End of the Trail" (by James E. Fraser)Machinery PalacePalace of Varied IndustriesPortal of the Palace of Varied IndustriesPortal of the Palace of Liberal ArtsWest Side of the Palace of Education"Thought" (by Ralph Stackpole)Portal of all the Palaces facing NorthCourt of the Universe"The Rising Sun" (by A. A. Weinmann)"Descending Night" (by A. A. Weinmann)"Earth" (by Robert Aitken)"The Genius of Creation" (by Daniel C. French)"The Nations of the Occident" (by Calder, Roth and Lentelli)"Youth" (by Edith W. Burroughs)Part of "Fountain of El Dorado" (by G. V. Whitney)Tower of Jewels"Cortez" (by Chas. Niehaus)North Court of Court of the Universe"The Adventurous Bowman" (by H. A. McNeil)Court of the Ages"Water" (by Frank Brangwyn)Panel of "The Fountain of the Earth" (by R. Aitken)Court of the Four Seasons"The Fountain of Ceres" (by Evelyn B. Longman)"The Feast of the Sacrifice" (by Albert Jaegers)The Emerald Pool"Winter" (by Furio Piccirilli)Eastern Gateway of Court of Four SeasonsCourt of Palms"The American Pioneer" (by Solon Borglum)Palace of Fine ArtsCorner of the Palace of Fine ArtsPanel of "Pegasus " (by Bruno Zimm)Palace of Horticulture"The Fountain of Energy" (by A. Stirling Calder)Festival Hall

Palaces and Courts of the Exposition

The Prayer of Bishop Nichols

of theEpiscopal Diocese of California, Given at theOpening of the Exposition

The Blessing of God Almighty, the God of the Ages, the God of theOceans, the God of the Continents, the God of the Genius of man and theGod of every Exposition of human achievement and progress - the Blessingof God Almighty, the Father, the Son and the Holy Ghost, be upon you andremain with you always. 

Amen. 

The 148th Psalm

Read byRabbi Meyer of San Franciscoat the Opening of the Exposition

Praise ye the Lord. Praise ye the Lord from the heavens; praise Him in the Heights. Praise ye Him, all His Angels; praise ye, all His hosts. Praise ye Him, sun and moon; praise Him all ye stars of light. Praise Him, ye heaven of heavens, and ye waters that be above the heavens. Let them praise the name of the Lord; for He commanded and they were created. He hath also established them for ever and ever; He hath made a decree which shall not pass. Praise the Lord from the earth, ye dragons, and all deeps. Fire and hail, snow and vapors; stormy wind fulfilling His word;Mountains and all hills; fruitful trees, and all cedars;Beasts and all cattle; creeping things and flying fowl;Kings of the earth and all people; princes, and all judges of the earth. Both young men, and maidens; old men, and children. Let them praise the name of the Lord; for His name alone is excellent;His glory is above the earth and heaven. He also exalteth the horn of His people, the praise of all His saints; even of the children of Israel, a people near unto Him. Praise ye	 the Lord. 

The Prayer of Bishop E. J. Hanna

of the Catholic Diocese

Given atthe Opening of the Exposition

O God of our Fathers, in Whose power are the destinies of men, in Whosehands are the ends of the world, look down with loving-kindness on Thychildren here gathered in Thy Name. From the uttermost bounds of theearth have we come to commemorate one of man's greatest achievementsadown the ages. Make us, Thy children, realize that Thou art the sourceof light and of inspiration; make us realize that great things arewrought through Thee alone. 

To the city of St. Francis, enthroned in beauty by the western sea, givethe grace of kindly hospitality, the blessing of an ever-widening visionof true greatness, a faith and a hope that know not failure. To ourglorious California give abundance of harvest, a bounteous plenty of Thytreasures and a valiant race of men blessed in the knowledge andsanctified in the observance of Thy law. To our favored land, which isfrom sea to sea, vouchsafe strength and unity and that peace which theworld cannot give. Make us feel that the mighty City of God risessublime through the centuries only when built on the foundations ofjustice and of truth; and, finally, to all the nations here represented, grant a vision of the highest things of life - of the things that makefor true progress, for real brotherhood, for lasting union, forunfailing love, for mighty achievement in time, and for that glory whichis everlasting. 

Amen. 

The Chief's of Departments

Architects - Mr. George Kelham of San Francisco. Sculptors - Mr. Karl Bitter of New York and his able manager, Mr. A. Stirling Calder of New York. Painters - Mr. Jules Guerin of New York. Illuminators - Mr. W. D'Arcy Ryan of San Francisco and Mr. Guy Bailey of Berkeley, Cal. Landscape Gardening - Mr. John McLaren of San Francisco and his son, Donald McLaren. Inscriptions - Selected by Mr. Porter Garnett of Berkeley, Cal. Material for Buildings was originated by Mr. Paul E. Deneville of New York. 

Architecture and Architects

Manager-in-Chief - Geo. Kelham of San Francisco. Court of the Universe - McKim, Meade and White of New York. Tower of Jewels - Thomas Hastings of New York. Court of the Ages - Louis Christian Mullgardt of San Francisco. Court of the Four Seasons - Henry Bacon of New York. Court of Flowers - Geo. Kelham of San Francisco. Court of Palms - " "The Italian Towers - " "Column of Progress - Symmes Richardson of New York. Machinery Palace - Ward and Blohme of San Francisco. Palace of Varied Industries - W. B. Faville of San Francisco. Palace of Mines - " "Palace of Manufactures - " "Palace of Transportation - " "Palace of Liberal Arts - " "Palace of Education - " "Palace of Agriculture - " "Palace of Food Products - " "Also all portals and aisles - " "Palace of Fine Arts - Bernard R. Maybeck of San Francisco. Palace of Horticulture - Bakewell and Brown of San Francisco. Festival Hall - Robert Farquhar of Los Angeles. 

Sculptors

(The numbers indicate the other works by the same sculptors to be seenin the Fine Arts Palace. )

Adams, Herbert (3)Aitken, Robert (9)Bateman, JohnBeach, Chester (1)Borglum, Solon H. (1)Boutier, E. L. Bufano, B. Burroughs, Edith Woodman (4)Calder, A. Stirling (5)Cummings, EarleEllerhusen, Ulric H. (2)Elwell, Frank EdwinFlanagan, John (3)Fraser, James Earle (7)French, Daniel Chester (4)Fry, Sherry (2)Gerlach, GustaveGruppe, CarlHarley, C. R. Humphries, C. H. (1)Jaegers, Albert (1)Jaegers, AugustKonti, Isadore (6)Laessle, Albert (21)Lentelli, LeoLongman, Evelyn Beatrice (4)MacNeil, Herman A. (2)Manship, Paul (10)Newman, AllenNiehaus, CharlesPatigian, Haig (7)Peters, C. Piccirilli, Furio (2)Putnam, ArthurRoth, Frederick G. R. (12)Rumsey, Charles Carey (8)Stackpole, Ralph W. (4)Stea, CesareTonetti, F. M. L. Walters, Edgar (1)Weinert, AlbertWeinman, Adolph A. (9)Whitney, Gertrude Vanderbilt (1)Young, Mahonri (9)Zimm, Bruno L. 

MURAL PAINTERS

(The numbers indicate the other works by the same artists to be seen inthe Fine Arts Palace. )

Bancroft, MiltonBrangwyn, FrankDodge, William de LeftwichDu Mond, Frank Vincent (6)Hassam, Childe (37)Holloway, CharlesMatthews, Arthur F. (14)Reid, Robert (3)Simmons, Edward

Materials of the Palaces

The buildings, as well as all of the statuary, are made of artificialtravertine, of a smoked-ivory tone. 

Real travertine is found in and around Rome, especially at Tivoli. 

It is a pure carbonate of lime, a creamy white deposit formed fromdripping water, in stratified form, with cavities and fissures linedwith crystals. 

The Colosseum and St. Peter's at Rome are both made of this material. 

The imitation travertine made with concrete, and used in the secondstory of the Pennsylvania Station in New York in combination with realtravertine of the first story, was invented by Mr. Symmes Richardson ofthe firm of McKim, Meade and White of New York. He also brought the realtravertine to America to have it used for the first time in a largebuilding, the Pennsylvania Station. 

Mr. Paul Deneville of New York has most successfully made a plastictravertine, composed of gypsum from Nevada combined with hemp fiber anda coloring pigment, which has been applied to all of the Expositionbuildings, producing a most pleasing glareless background under thesunny skies of San Francisco. 

The roofs are covered with imitation tiles, since real tiles would betoo expensive for Exposition purposes. 

Material of the Statues

The architectural statues - that is, those directly connected with thearchitecture - are of smoked-ivory tone, so that you see them as part ofthe architectural scheme. 

Those far away from the eye, used as free statues, are, in the main, golden. 

Those nearer the eye simulate bronze, the special color that seemsworked out from the color of the blue eucalyptus. 

All the statues of the Exposition palaces and courts are of travertine, the material of which the buildings are made. 

Machinery Palace

Architects - Ward and Blohme of San Francisco. 

The palace is one of grandeur, dignity and great beauty. 

The architecture has been inspired by such old Roman thermae as theBaths of Caracalla, the Baths of Titus and the like. 

The ornamentation is of the Italian Renaissance style, worked out on abuilding that in form suits the needs of a great palace of machinery. 

The gable points at the top of the western façade are such as one seesin the restoration of the Baths of Caracalla. 

The first and only other expression of this style in America is seen inthe Pennsylvania Station of New York City. 

In the Transportation Palace can be seen a model of the proposed planfor a new Union Depot for Chicago, with a similar gabled effect. 

The three arches reflect on the exterior the three aisles of the sameportion of the palace within. 

The great columns in front, and also in the vestibule, simulate Sienamarble. 

The entablature carried across the faces of the arches supports Americaneagles by C. A. Humphries. 

Eagles are also seen at the corners of the Corinthian capitals. Thisbird of freedom can be found all over the Exposition. 

Notice that Mr. Jules Guerin, the great color wizard, leads you by meansof the blue ground of the capitals, the blue between the dentils, theblue between the consoles to the blue sky above. 

The principal lighting is by great clerestory windows - great windows atthe north and the south ends - also by skylights. 

The building covers nine acres, and is the largest wooden structure inthe world. It is about three blocks long. 

The statues as well as the reliefs are by Haig Patigian of SanFrancisco. 

Vigorous types like machinery itself are used. 

The generation, transmission and application of power as applied tomachinery are most interestingly represented. 

The decorated drums of the columns show the Genii of Machinery. 

The eyes of these figures are closed, reminding you that power comesfrom within. 

Notice how from any point of view your figures suggest support at thesides of the drum. 

The very position of the arms gives you a strong feeling of support. 

The figures on the spandrels represent the application of power tomachinery. 

The figures on the pedestals represent:

1. "Steam Power" with the lever that starts the engine. 

2. "Invention" showing a more intellectual type of face, carrying thefigure with wings spread, suggesting the flight of thought. Thisthought, as it were, is above the world. 

3. "Electricity" with foot on the earth, suggesting that electricity isnot only in the earth, but around it. He carries his symbol, electricity. 

4. "Imagination, " showing man with his eyes closed - seeing within. Thebird of inspiration, the eagle, is about to take flight. 

The wings on the head suggest the rapidity of thought or action. 

Inside this great palace one sees the latest inventions in machinery. Ponderous machines capable of shaping tons of metal, great labor-savingmachines, and all sorts of electrical appliances. "Safety first" is apronounced feature of this exhibit. 

Palace of Varied Industries

Architect - W. B. Faville of San Francisco. 

The high walls, averaging seventy feet to the cornice, with theirrespective buttresses, are strongly suggestive of the Californiamissions of the eighteenth century. 

The "California bear" and the Seal of California are in decorative andsuggestive evidence at the tops of the buttresses. 

The green domes on the palace belong to the Byzantine school ofarchitecture, such domes as one sees in the mosques of Constantinopleand other Mohammedan centers. 

The windows seen in the corner towers are the same kind that one seesused in the majority of mosques. 

The beautiful central portal, facing south, is modeled after the Portalof the Hospice of Santa Cruz at Toledo, Spain. 

It is 16th century Spanish Renaissance, known as the Plateresque style(from platero, silversmith). 

The columns suggest a wood origin and look as if they had been turned ina lathe. 

The portal is the color of cork, illuminated here and there with nichewalls of pink, and touches of ultramarine blue. 

The fine figure work representing the modern industrial types is byRalph Stackpole of Oregon, whose home is now in San Francisco. Heexpresses himself most simply and unaffectedly, in clear, broadtreatment, and makes the ordinary workman a man to be honored andrespected. 

The upper figures represent an old man handing his burden to a youngerman. The Old World Handing Its Burden to the Younger World, that isAmerica, is finely suggested. 

The keystone figure represents The Power of Industry, the man who boththinks and uses his hands. 

In the tympanum are the types representing the Varied Industries. 

In the center is Agriculture representing the food side of life. On theleft a workman, possibly an architect, suggests the refinements of thevaried industries, while on the right one sees the ordinary workman withhis sledge-hammer, bringing to mind the rougher side of industry. In theleft corner a woman with her spindle - a lamb standing near - recallsthe making of textiles. Commerce occupies the right corner, holding theprow of a vessel with its figurehead. 

The Workman with his pick is repeated in the four niches. 

The two flanking portals are also in the plateresque style with devicesof this Spanish Renaissance period represented on them. 

The shields, or cartouches as they are called, have no special meaning, being only ornaments of this particular period. 

The portals on the east of the Palace of Varied Industries and also ofthe Palace of Mines are suggestive of gateways of old Roman walledcities, like those of Perugia, for instance. This Italian type of portalis chosen since Machinery Palace opposite is in the Italian style ofarchitecture. 

Notice how the pastel pink accents the portal. 

The figure of "The Miner" in the niches is by Albert Weinert, whose workin the Congressional Library at Washington is well known. 

The Palace of Varied Industries has an exhibition of the more refinedmanufactures, those articles that are regarded more as luxuries, such asbronzes, jewelry, silverware, fine pottery, porcelains, rugs, leatherwork, silks, etc. 

The Palace of Mines deals with the smelting of metals, a fine exhibitionof different ores, and above all "Safety First" in its relation tomines. The Mines Rescue work is most interesting. 

Flora of the Avenue of Progress and the Avenue of Palms

Eucalyptus globulus (blue gum). Eucalyptus robusta. Eucalyptus viminalis. Cupressus macrocarpa (Monterey cypress). Laurestinus. Australian pea vine on the palms. Muhlenbeckia (Australian mattress vine) against the base of Machinery Palace. Honeysuckle against the base of the Varied Industries Palace. Lawson cypress. Libocedrus decurrens (incense cedar). Acacia floribunda. Acacia latifolia. Albizzia lophantha. Abies menziesü (fir). Picea Engelmanni (spruce). Picea excelsa (from Norway) (spruce). Pittosporum. Rhododendrons (notice how they work upon the pink walls) (for color). Cinerarias (for color). Cyclamen (for color). Dracaena indivisa (cabbage palm). Woodwardias. Japanese strawberry. 

Notice Mr. McLaren's devices for covering the ground. 

The lophantha lawn, it might be called, is an artificial device forproducing a most lovely effect. The tree is stripped of all branchesuntil it has attained the height of four feet, the top being trained andflattened into a head five feet across. The trees are placed closeenough together so that the tops interlace, producing thereby acontinuous green surface. 

The veronica, buxifolia is the light green border at the side and infront of the Palace of Varied Industries. 

Achanea from New Zealand and Australia is used on the banks and accordsmost harmoniously with the albizzia lophantha. 

The abelia rupestris is the red leafed plant with pink blossoms. 

Peonia moutan daikaqura is the peony. 

Since the small plants in front of the permanent shrubs are changedperiodically, a list of everything planted is of course out of thequestion. 

The technical names are suggested with a few of the trees and shrubs sothat you can continue this line of work for yourself. 

Since the botanical names are placed on the plants in many places youcan easily find what you seek. 

The Palace of Manufactures and also The Palace of Liberal Arts(Since they are alike. )

The portal is Spanish Renaissance with grill work. Notice the pastelpink, turquoise blue and burnt orange on this portal. This coloring is ameans of strongly accenting this fine architectural feature. 

The panel (representing the making of glass, metal work, textiles, statuary, etc. ), as well as the female figure holding the spindle andthe male with the sledge-hammer, are by Mahonri Young of Salt Lake City, Utah. 

The wall niches show elephants and lions used alternately - a fineoriental touch. The heads are used as fountains. 

"Acroterium" is the Victory on the gables, many times repeated. It isthe work of Frank Edwin Elwell, curator of Ancient Art, at theMetropolitan Museum of New York. 

Viewing the figure from the side, you are reminded of the Victory ofSamothrace. She is noticeably beautiful against the late afternoon skyand also against the blue morning sky. 

You will notice that the flora is just the same in the main in front ofthese buildings as it was in front of the others you have seen, thegrass lawn here taking the place of the albizzia lophantha. 

Sweet peas, daffodils, rhododendrons, evening primroses, Japanesemagnolias, coronilla are added for color. 

The Palace of Manufactures shows the coarser, heavier articles, such asfurniture, carpets, woolen goods, hardware. Many articles are being madein this palace. 

The Palace of Liberal Arts includes all kinds of printing, book binding, engraving, photographic apparatus, especially in the line of movingpictures and color photography, theatrical appliances, musicalinstruments, instruments of precision, wireless telegraphy and thewireless telephone, etc. 

Palace of Education

Architect - W. B. Faville of San Francisco. 

There are three portals on the south in the Spanish Renaissance style, with twisted columns of the Byzantine school. Notice that the screwstwist in opposite directions. 

Above the central portal is Gustav Gerlach's tympanum relief"Education. " The tree of knowledge is seen in the background. Thekindergarten stage, the half-grown, and the mature periods are shown, the last showing the man no longer under a teacher, but working hisproblem out by himself. 

The modern costumes, combined with the classical styles, suggest thatthe knowledge of today rests upon that of the old schools. Mr. Gerlachis a pupil of Karl Bitter of New York, the Chief of the Sculpture. 

Below the tympanum is the open book of knowledge from which lightradiates in all directions. The curtains of darkness have been drawnaside. The hour-glass says, "Improve the shining moments as they pass. "

The crown awaits those who will seek knowledge. 

Atop this portal is the globe suggesting that education extends aroundthe world. 

The panel on the left shows the female teacher in the center. She isinstructing her hearers who discuss their interests. 

This panel is by Peters. 

The companion panel with the male teacher is by Cesare Stea. 

Both panels are quite evident in meaning. Messrs. Peters and Stea arepupils of the Beaux Arts of Paris and the National School of Sculptureof America, respectively. 

The Palace of Education and Social Economy shows developments since1905. Comparative exhibits of educational interests of all nations areshown. 

Child welfare, playgrounds, care of the feebleminded, treatment of theinsane, missionary work, the Red Cross system, criminology, parksystems, street improvements, methods of disposing of sewage, and manyother allied subjects are interestingly worked out for public benefit. 

The flora is just about the same in front of these palaces as that whichyou have noticed. The veronica buxifolia is grouped around the lawn atthe corner of Palm and Administration Avenues. 

The west side of the Palace of Education as well as that of the Palaceof Food Products, has great Roman half domes above the entrances. Againyour architecture at the portals is changed to suit the style of thepalace opposite. The Fine Arts Palace is mainly old Roman. 

These are called respectively "The Dome of Philosophy" and "The Dome ofPlenty. " The female figures carrying the books "Ex libris, " as well asthe male figures carrying cereal wreaths, are by Albert Weinert and EarlCummings, respectively. 

"Out of books comes much knowledge, " says the woman. 

"If you wish to be as physically strong as I am, eat my food, " says theman. This figure then represents physical vigor. 

The fountains of the vestibules are by W. B. Faville of San Francisco. That in the vestibule of the Palace of Food Products is stronglyreminiscent of the fountain of Perugia. 

The great Siena pedestals beside these palaces carry Ralph Stackpole's"Thought. "

The niches have alternate groups of "Abundance" and "Triumph of theFields, " both by Chas. Harley of Philadelphia (studio in New York). 

Abundance expresses to you the overflowing amount of all that we havetoday. Her symbol, the cornucopia, is seen on either side. Her largehands are spread out as if to say:

"I give you all that I have. Take. Choose what you will. "

One certainly has a bountiful choice. 

The eagle's head is on the prow of the vessel in which she sits. Itsurely suggests that considering all we have put before us today, wehave reason for inspiration (the eagle being the symbol of inspiration). 

The Triumph of the Fields shows man surrounded by the symbols of theharvest festivals when the Celtic cross, to take one case, or thestandard with the bull atop, to take another, was carried through thefields at the time of the bringing in of the harvests. 

Man has been the guiding hand to the bull, but the bull has reallytriumphed since it has actually done the work, while man receives thecredit. Man has surmounted the bull, as it were. 

Above is the wheel of the wain of old. 

The seed in the black earth appears almost to possess intelligence. Youget that idea by the head below. Has not the seed produced the beardedbarley head you see represented? Does not that power of productionappear to be intelligence in the seed?

Below the niches are facsimiles of old Roman baths such as one sees inthe Lateran Museum, in Rome. (See picture in Bannister Fletcher'sHistory of Architecture, page 170. )

Fronting the Esplanade are four great palaces:

The Palace of Food Products, which allows you to see how a number of ourdry groceries are made;

The Palace of Agriculture, dealing with the many interests of the farmerand the orchardist, the fisheries, forestry, reclaimed land, etc. ;

The Palace of Transportation, which enables one to see the remarkableprogress made in automobiles, aerial navigation, ocean liners, overlandtrains, etc. ;

The Palace of Mines, which has been spoken of before. 

These four palaces have the same kind of doorway. The style is theSpanish Plateresque, the same kind of work that was used on the fineportals of the Palace of Varied Industries. 

The Spanish Cavalier (by Allen Newman) is the type of man who came toAmerica in the 16th century, during the period following its discovery. He is the type of Spanish conqueror (conquistador). 

The Pirate (by Allen Newman) is the type of man who infested the shoresof Spanish-America and preyed upon the commerce. 

The Palaces are intimately placed for several reasons. 

 From experiences at previous Expositions "tired feet" are strongly to beconsidered, hence the nearness of the buildings. 

San Francisco has a few (?) windy and foggy days in the Trade WindSeason, so if the walls are high and near together, the courts on theinside of those walls will be well protected from both winds and fogs. The high walls lift the cool air so that it passes over the buildings ofthe great block, thus sheltering the courts within. 

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Now that you have walked around the façades of the palaces of this greatblock system, you can start with your courts. 

I would strongly suggest that you study all of your buildings of thisgroup first, before entering the courts for close work. 

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The Aisles Between the Palaces

The aisle between the Educational Palace and the Palace of Food Productsis called The Aisle of Spring, tho the name will probably not be appliedvery often, as the aisle is not important. 

The flora seen here is eucalyptus, acacia, laurestinus with its whitebloom, and veronica decussata with its purple flowers. 

The border is cistus. 

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The Aisle of the Setting Sun is between the Court of the Universe andthe Court of the Four Seasons. 

The Aisle of the Rising Sun is between the Court of the Universe and theCourt of the Ages. 

These two aisles are very much alike, the great difference being in theflora used. 

The style is Italian Renaissance and should not be called Venetian, asmany have named it. 

The walls are covered with a diaper design of ochre, pink andtravertine. 

Blue rondels are used with telling effect. They give a delightful touchof color and have a fine Italian feeling. These rondels have no specialmeaning, being purely decorative. 

The coupled columns with different decorations have their prototypes inthe columns of the churches of southern Italy. 

The arched windows have interesting grotesque keystones. 

Notice that the spirals of the great Siena marble columns turn inopposite directions. Think how they would appear if they all turned thesame way!

Notice also the beautiful manipulation of color on the Triumphal Arches. 

The latticed windows are strongly suggestive of Mohammedan work and area beautiful turquoise green. They are among the many Oriental touches atthis splendid Exposition. The area of deep pink and the burnt orangemedallions must be seen to realize their beauty. 

No wonder Pegasus is seen in the spandrels! Who would not mount Pegasusat such a glorious Exposition?

In these aisles are many remarkable conifers. Yews from many differentcountries, junipers of various kinds, pines, firs, spruces, cypresses ofcountless varieties, many thuyas, beside euonymus, holly, datura, Indiarubber, aralias, the beautiful nandina domestica, a most lovely foliagemassed in the corners of the west side of the Aisle of the Rising Sun. 

In March and April these courts receive glorious rich coloring from bedsof California poppies and anemones, bordered with creeping juniper. 

The gay spring flowers will be followed by summer annuals, and later byour autumn blossoms, The Court of the Universe

This court, which strongly resembles the great area in front of St. Peter's, Rome, with its sweep of colonnade to right and left, wasdesigned by the New York firm of McKim, Meade and White. 

The architecture is Italian Renaissance and gives you the beautifulspirit of the old-time work. It is a wonderful court in architecture, ornamentation, color, arrangement, and above all in meaning. 

In order to get the full joy of it you must pursue a regular plan andyou cannot hurry. Don't try to do it all in one day. First walk thru thecourt to the Triumphal Arch on the right. Pass thru it and read thequotation on the right at the top of the arch. 

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The Cosmical Side of the Court of the Universe

"The universe - an infinite sphere. Its center everywhere, itscircumference, nowhere. " This comes from Pascal, from his Pensées. 

This splendid quotation gives you the infinite side of your subject. 

Now pass back to the Court of the Universe and you will see ninety timesrepeated against the sky, A. Stirling Calder's very decorative "JeweledStar. " This will suggest the myriad of suns in our great universe (sincestars are suns). 

The nearest star to us, our sun ("The Rising Sun, " by A. A. Weinmann ofNew York) then attracts the attention. 

He is seen just before daybreak. 

This fresh, strong young sun is just bout to start on his journey. Dawnis soon to break upon the world and with muscles stretched, the heavenlyjoy of the first move expressed upon his face, the wind blowing thru hishair, the vigor of young life pulsating thru his body, he will start thechest forward and move those outstretched wings. 

Walk toward him and you will see him begin his journey thru space. 

Now read the quotation an the Triumphal Arch of the Rising Sun:

"The moon sinks yonder in the westWhile in the east the glorious sunBehind the herald dawn appearsThus rise and set in constant change those shining orbsAnd regulate the very life of this our world. "

- By Kalidasa (the Shakespeare of India). 

The sun at setting is represented by a beautiful woman. The day is justabout to close and with muscles relaxed (knees bent, head drooping, armsfalling, wings folding) she is soon to sink to slumber, to pass fromview. This is what is suggested by calling the figure the Setting Sun. 

In the Fine Arts Palace, Mr. A. A. Weinmann has called the same figure"Descending Night, " and that title is much more consistent andsatisfactory, for how are you going to account for the youthful sun'sappearing at the end of the day as a woman?

Then again the reliefs refer to "Descending Night, " for they are called"The Mysteries of Dusk. "

Now raise your eyes to those beautiful cameo figures on the burnt orangeground at the entrance to the colonnades, and you will be carried inthought to the Zodiac, that great imaginary belt thru which the sun andplanets travel. 

There you see the zodiacal figures, two and two, with their symbols, gliding thru space. 

The clouds or nebulous matter is suggested by the female figures withswirling drapery, toward the end of the frieze. 

In the center stands Atlas, mythologically the first astronomer. Yourfancy has carried you on the wings of the wind at this very suggestion. These fourteen maids are Atlas' fourteen daughters. 

Go close to the die of the fountain of the Rising Sun and look at thereliefs. 

The subject is Day Triumphant. The genius of Time with hour-glass isfollowed by the genius of Light with flaming torch, and Energy sounds onhis trumpet the announcement of the break of day. 

Truth follows with mirror and sword emerging triumphant from thesinister powers of Darkness. Falsehood shrinks from its own imagereflected in the mirror of Truth. Vice cowers and struggles in the coilsof a serpent. 

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Walk over to the corresponding die on the fountain of Descending Night. On it are shown the Gentle Powers of the Night. Dusk envelops in hercloak Labor, Love and Peace. 

Following are Illusions carried upon the wings of Sleep. Then come theEvening Mists, followed by the Star Dance and Luna, goddess of theSilver crescent. (Let me acknowledge the kind help of Mr. A. A. Weinmannin the interpretation of these reliefs. )

You have swept your mind over the cosmical side of the Court of theUniverse on objects at a great distance. Come closer now to view theelements. These colossal figures of Earth, Air, Water, Fire assume acertain majesty in this Court of the Universe. 

They are in horizontal composition and add greatly to the decorative, side of this inspiring court. 

Earth - The sleeping Earth which yields to man wood (from the greattrees whose roots ramify below the surface of the ground), stone andminerals - (man wrests thru great muscular strength these substancesfrom the earth). 

Air - That holds to her ear the star. She is listening to the music ofthe spheres. On her back are wings which man has fastened so that he canovercome her - a fine suggestion to aerial navigation. 

The bird, the symbol of the air, is twice repeated. 

Fire - His very expression of face shows you the terrorizing effect offire. He holds his hand in the flame. The lightning plays on his rightarm. Across his figure passes the salamander, the fabled reptile of thefire. (See the real salamander in the Japanese concession on the Zone. )

Water - The bellowing ocean with mouth agape lies on the tossing waves, thru which sport the dolphins. 

Ocean, the king of the waters, carries the trident. 

On his head and in his hands the kelp is seen. 

The elements are by Robert Aitken of New York, formerly of SanFrancisco. 

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The Human Side of the Court of the Universe

All is now ready for man. 

In the center of the Court of the Universe was to have been DanielFrench's Genius of Creation, but if it is not there, we must not losethe great dominant note of this Court, so pass thru the Triumphal Archof the Orient, thru the beautiful Aisle of the Rising Sun, across theCourt of the Ages, out thru the next aisle, to the plaza in front ofMachinery Palace in order to follow the story. 

Here on the boulder sits the great Spirit (not a man you will notice). The hood is drawn far over the face so that a certain idealism isproduced - a great spirit with wings and arms raised. 

Wisdom (the serpent) encircles the throne. 

The arms of the creating spirit have just been raised, the word has justbeen spoken and splendid manhood ready to meet the world, with modest, helpful woman, just come forth. The hands touch at the back of thegroup, causing you to feel that man and woman are mutually dependent. 

Return to the Court of the Universe. 

Now, look up at the Triumphal arches and notice Leo Lentelli's Angel ofPeace with its downturned sword. 

"Let there be peace throughout the world. Turn down the sword, " it says. 

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A night of illumination should follow your work and you can then readunder the searchlights the words on the right upper corner of theOriental Gateway -

"Our eyes and hearts upliftedSeem to rest on heaven's radiance. "

(From Hitomaro, the Japanese poet of the 8th century, A. D. )

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Your scene is shifted for a short time. 

You have passed into the Court of the Ages for a retrospect (upon thehuman side). 

The primitive people are to be seen here on the Fountain of thePsychology of Life. Don't try to see everything in detail now, for youcan come back later. 

Just realize this, that the small group facing west in the fountain isThe Dawn of Life, then comes Natural Selection which develops into TheSurvival of the Fittest, or The Development of the Militant Spirit. 

This early period shows man working strongly under the power of impulse. Vanity, lust and greed seem to dominate his actions. On these primitivepeople pass thru life. You can see them if you look up on the Tower. Onthey march, in that upward climb of civilization. 

Marching along with primitive man, thru long periods of time, you nextmeet him developed as the Crusader of the Mediaeval period. He hasmounted thru war and his religion and stands at the feet of thePriestess of Religion, the last group at the upper part of the Tower. 

On either side you will notice a man and a woman standing on the bodiesof primitive beings. These figures represent the man and the woman oftoday - the man and the woman who have sprung from this primitive stock. 

Don't stop in this beautiful Court of the Ages, for we shall returnlater to finish our story. 

You have gotten connection enough now to allow you to return to theCourt of the Universe. 

Take a seat in the sunken garden and look up at the figures on theTriumphal Arch of the Rising Sun. The Orientals are represented by manytypes. 

 From left to right are seen:

1. The Arab sheik on his Arabian steed. 2. The Negro servitor with fruits on head. 3. The Egyptian on his camel, carrying a Mohammedan standard. 4. The Arab falconer with bird on wrist. 5. The splendid Indian prince on the back of the elephant. 6. Inside the howdah the Spirit of the East. 7. The lama from Thibet with his rod of authority. 8. The Mohammedan with his crescent standard. 9. Again a negro servitor. 10. The Mongolian on his horse. 

On they come, these Orientals, to take part in the great celebration. (They are the collaborated work of A. Stirling Calder, Leo Lentelli, Frederick Roth. )

Next look up at your Occidentals on the Arch of the Setting Sun. 

 From left to right you see:

1. The French Canadian - the trapper. 2. The Alaskan with her totem poles on her back. 3. The Latin-American on horseback. 4. The German. 5. The Italian. 6. The Anglo-American. 7. The Squaw with her papoose basket. 8. The American Indian on his horse. 

In the center is the old Prairie Schooner drawn by the great oxen. 

Atop, pushing out, is Enterprise leading these men westward, on eitherside a white boy and a colored boy, The Heroes of Tomorrow. 

In front marches that stalwart Mother of Tomorrow. It has taken allthese Occidentals to produce the work that is coming in the future - theachievements due to the completion of the Panama Canal - therefore, theyconjointly express "The Mother of Tomorrow. "

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These nations are now marching into the Court of the Universe and are tomeet in front of the Tower of Jewels, the symbol of the Panama Canal. 

Read now on the Occidental Gateway the magnificent lines by WaltWhitman:

"Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound, I, a child, very old, over wavesToward the house of maternity, the land of migrations look afar, Look off the shores of my western sea, The circle almost circled. "

Mr. Porter Garnett's excellent explanation you may be glad to read:

"In these transcendent lines we have the poet speaking as thepersonification and representative of the Aryan race, the race, which, having its origin in the plains of Kashmir, has by virtue of the spiritof conquest, the desire to be seeking what is yet unfound, finallyreached the western edge of the American Continent, whence it 'faceswest from California's shores' and looks toward the House of Maternity, the Land of Migrations from which it originally sprang. "

"It seems hardly possible to conceive of an inscription that embodiessuch a tremendous thought, and is, at the same time, so appropriate tothe purpose for which it is suggested. It comes, moreover, from the poetwho above all others represents the spirit of the American people andthe ideals of democracy. "

You now feel the import of the Occidentals who, with that Aryan spirit, have with mighty power, such as Hercules alone possessed (as PerhamNahl's poster tells you) severed two continents and introduced thePanama Canal. 

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Next read the far-seeing words of Goethe in his letters to Eckermann (onthe west side of The Arch of the Setting Sun):

"It is absolutely indispensable for the United States to effect apassage from the Mexican Gulf to the Pacific Ocean, and I am certainthat they will do it. Would that I could live to see it, but I shallnot. "

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The Historical Side of the Court of the Universe

Begin with Mr. Edward Simmon's murals on either side of the Gateway ofthe Rising Sun. 

Facing east, the mural on the right represents The Nations That HaveCrossed the Atlantic (Greece, Italy, Spain, England, France, etc. ) andthe special types are these:

1. The savage of the lost Atlantis. 2. The Graeco-Roman sharpening his blade. 3. Columbus, the type of adventurer. 4. Sir Walter Raleigh, the type of colonist. 5. The priest, representing the Jesuit missionaries. 6. The artist. 7. The workman. 8. The (veiled) Future listening to the Past. 

The people of the old world, with all their traditions, cross theAtlantic, led by the "Spirit of Adventure" (with his bugle calling themto come). 

The mural on the opposite side shows the aspirations, etc. , of the groupjust examined. 

Reading from left to right we find the men had hopes (and some falsehopes - but bubbles), commerce, inspiration, truth, religion, wealth andfamily in their minds. 

Cross to the Gateway of the Setting Sun looking at the mural on theright as you face west. 

Time has moved on since those early colonists came to the Atlanticshores and now the Spirit of Abundance (with her overflowing goldencornucopia) is sounding the call for all to follow. 

Many leave their homes to join the great throng that is moving westward. The wagon is laden with the necessaries of life for the new home in thewestern country. You see the feather bed, the old grandfather's clockthat stood on the stairs, the scythe, the pitchfork and the rake fortheir agricultural interests, etc. On the right the young man who hassaid goodbye to his wife now turns to his aged parents. The mother, overcome with grief at parting, stands speechless, and the grey-hairedfather shakes his boy's hands and wishes him "Godspeed. "

All types of men are taking the journey and you are reminded that notalone workmen and adventurers are leading the procession, but ministers, women with their refining influence, children with their school books, and college men with gown and mortar-board, with books under arms - allmoving on the long journey westward. 

Occupying the same position on the southern side of the arch thecompanion-piece, by Frank Vincent Du Mond, shows these men from theAtlantic arriving at the shores of the Pacific. 

The people of the west with outstretched arms welcome the travelers. Thechildren of the Pacific shores run with flowers and fruits to greetthem. You will notice the different types arriving from the Atlanticshore - literary men (with pen and book), architects (with temple inhand), scientists (with book under arm), Franciscan friars (withcrucifix and mission bells in hand), etc. These are followed by the RedCoats, indicating those who preserved order. These men are all led bythe Spirit of Adventure. She is no longer in the foreground, but isready to fall behind as soon as she has fulfilled her mission. 

The agricultural interests of the western countries are suggested by thewheat and implements of the field. The heavily laden orange trees speakof the fruit industries. Does the tapir stand for South America? Surely, South America is coming into the foreground just now. 

The people have now been brought to the shores of the Pacific. 

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The Panama region is the one next to be visited and you rehearse itsstory, standing under the Tower of Jewels, "The Panama Canal. "

These are the murals of Frank DeLeftwich Dodge:

1. The Panama Isthmus is discovered. 2. It is purchased by the United States. 3. You are reminded that the great waters - the Atlantic and the Pacific - play with titanic force on either side of the isthmus. 4. The Panama Canal is completed. 5. Labor is crowned. 6. The achievements which follow are shown: (The caduceus, the wand of Mercury, the symbol of commerce, is prominent. )

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Pass thru this Tower of jewels noticing in the eastern and also thewestern arcades two fine fountains. 

On the left is the Fountain of Youth by Mrs. Edith Woodman Burroughs ofFlushing, Long Island. 

The simple, beautiful, naive figure standing on the pedestal is Youth, the United States, the child that has come from old parents (Europe). 

The old father and mother have had many children - many little primrosesyou will notice - but none more dear than this one. The charming panelswill remind you that the old people of today are being rowed by theyoung. These children row the vessels, bring them to shore and fastenthem to their moorings. 

Many of the old people are deaf or blind and are straining to follow theyoung who, with willing hands are guiding them on. A most charming, lovely work is this, and adds a fine touch to the open book that we arereading. Don't lose the eagle and laurel wreath back of Youth. They aresignificant. 

Oh the other side is the fine formal fountain of "El Dorado, " byGertrude Vanderbilt Whitney of New York. 

The fountain of El Dorado brings to mind the old Indian legend of ElDorado, the Gilded One:

There was once among the South American tribes a belief that in acertain far-off country lived a king called El Dorado, the Gilded One. He ruled over a region where gold and precious stones were found inabundance. 

The story influenced a vast number of adventurers who led expeditions toseek the land of golden treasure, but, notwithstanding the fact thatthey searched most carefully and for long periods, they all failed tofind it. 

The idea of the unattainable gave the suggestion to Mrs. Whitney for herfountain. 

The gold of El Dorado was used as the symbol of all material advantageswhich we so strongly desire - wealth, power, fame, etc. 

In the panels are seen the men and women of life in their mad race forthe unattainable. 

Many have had a glimpse of El Dorado, the Gilded One, and are rushing onto pass the mysterious gate behind which the desires of life await them. 

Some faint by the roadside or stop in their race for the goal to contendor to loiter by the way, but those nearest the El Dorado increase theirspeed - rush madly on. 

Beside the gateway that has only just allowed the fabled El Dorado, theGilded One, to pass through are two mortals who have come close to theland of their desires, but only to find the door shut and slaves besideit barring the way. Their strength is expended, their courage gone inthe long race for material things. The panels of this fountain tell usin satirical language something we can profitably think over and realizeif we will. 

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The Ethical Side of the Court of the Universe

After man has created the great "Isthmian Way, " it is well to think onhis fine ethical standards. 

Read on the triumphal arches these quotations on truth, honor, justice, wisdom:

(Spain)

"Truth, witness of the past, counsellor of the present, guide of thefuture. " (Cervantes in Don Quixote. ) East side of Arch of the SettingSun. 

(China)

"They who know the truth are not equal to those who love it. " (Confuciusfrom the Confucian Analects translated by James Legge. ) West side of theArch of the Rising Sun. 

(Arabia)

"He that honors not himself lacks honor where soe'er he goes. " (From the"Mu'allaqua" of Zuhayr ibn Abi Sulma translated by Reynold A. Nicholson. ) East side of the Arch of the Rising Sun. 

(Italy)

"The world is in its most excellent state when justice is supreme. "(Dante Purgatoria. ) West side of the Arch of the Setting Sun. 

(Siam)

"A wise man teaches, be not angry; from untrodden ways turn aside. "(From the sayings of Phra Ruang, Prince Ram Khamheng of Sukhothai. ) Eastside of the Arch of the Rising Sun. 

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Coming into this great Court of the Universe one hopes that truth, honor, justice and wisdom will be maintained. 

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The Floral Side of the Court of the Universe

This court will show a succession of beautiful bloom throughout theyear. The daffodils will have their golden season, the rhododendronstheir brilliant sheet of color, and in May the columns will support ourvarious climbing roses, exhaling their perfume for all who come to thisLand of Flowers. 

Summer flowering annuals will follow and later the autumnal flowers. 

Read the quotation on the aisle side of the Arch of the Rising Sun:

"The balmy air diffuses health and fragrance, So tempered is the genial glow that we know neither heat nor cold. Tulips and Hyacinths abound. Fostered by a delicious clime, the earth blooms like a garden. "

- Firdausi. 

(Annals of Kai-Kaus, in James Atkinson's translation of Shah Nameh. )

So, while thinking of a Persian garden in the quotation, we feel theapplicability of these words to the California gardens. 

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The Festival Side of the Court of the Universe

There is still another side to realize in this meaningful court. Theexposition is a great festival, a triumphal festival, and you meet thesuggestions of it all around you. 

This great court is entered on three sides by Triumphal Arches. 

The Triumphal Arch of the Occident, The Triumphal Arch of the Orient, The Triumphal Arch of the Tower of Jewels. 

The prototype of the triumphal arch is seen in many places, mostsatisfactorily today in Rome. 

The Arch of Constantine is the best model for us to examine, for it hasthree openings - even if the shape of the side opening is not the sameas that of the arches before us. 

The great court is hung with festoons (on the frieze) and decorated withthe vine and its grapes (on the architrave). 

The bulls' heads with festoons are represented on the frieze as theyonce were on the altars of old when the festival, "The Feast of theSacrifice, " was celebrated. (Refer to the same subject in The Court ofthe Four Seasons. )

In stately procession around the sunken garden are seen the Canephoribringing their jars of nectar. 

The Canephori in old Greek days were the maidens who formed part of thegreat processions, such an one as the Panethenaea, carrying on theirheads baskets which held the consecrated temple furniture, to bedeposited at the end of the long march in the temple. 

Here the sculptor has taken the license of representing men with themaidens, and instead of baskets has used vases. 

This idea of the festival is strongly accented at night when you aretransported to old Greek and Roman days. 

Follow after this procession and you will notice that Paul Manship's"Joy of Living, " or "Motion, " as it is also called, has entered. Thejoyous girls in perfect abandon are coming to join the happy throng. They bring their offerings in the shape of great wild-rose festoons, well suited to the "Wild Roses" who carry them. 

Near by is Paul Manship's "Music, " adding the song, and the music of thelyre. 

As a last touch you will find the nations of the Occident and thenations of the Orient marching into this Court of the Universe to takepart in the festival in celebration of one of the greatest events ofhistory - the opening of the Panama Canal. 

At night comes the illumination, as a climax to the festival, andgradually the lights die down and all is still - just for a few hoursonly, for day will dawn, for is not the Rising Sun ever with us - andanother day of festivity will come, and yet more at this greatestfestival that the world has ever known. 

The Tower of Jewels

Architect - Thomas Hastings of New York. 

Architecture - Italian Renaissance with Byzantine features. 

This great Tower of Jewels symbolizes the Panama Canal, the jewel todaythat is most resplendent. 

It is 433 feet high. In cold weather, owing to the contraction of thesteel, it is said to be four inches shorter than in warm weather. 

The arch is 110 feet high and 60 feet broad. 

The tower is in seven lifts, surmounted by the earth with its shimmeringjewels. You are reminded that the whole earth is affected by thisstupendous piece of engineering (the Panama Canal). 

The figures on the pedestals of the arch are by John Flanagan of NewYork, and they represent:

1. The Adventurer, the type of man of the 16th century who pushed out into the wilderness of the southwest. 2. The Priest, the type of man who came to convert the country in the 16th century. 3. The Philosopher, who by his fine knowledge of the Greek and Latin manuscripts was able to disseminate knowledge in the 16th century thruout the new regions. 4. The Warrior, the type of 16th century soldier who came to conquer the country. 

On the first tier you meet the Armoured Horseman by Tonetti, the type ofcolonizer of the 16th century. 

Now look at the equestrian statues that stand on either side of theTower. That on the right is Cortez (by Chas. Niehaus), the conqueror ofMexico - the man who wrested Mexico from Montezuma for the kingdom ofSpain. 

On the left Pizarro (by Chas. Rumsey), the conqueror of Peru, who gainedfor Spain the land of the Incas. 

The country north of the Panama region was conquered by the Spanish. That on the south of Panama was also the Spanish land. 

It is time now to read the inscriptions on the south side of the tower:

1501

Rodrigo de Bastides, pursuing his course beyond the West Indies, discovers Panama. 

1513

Vasco Nuñez de Balboa, crossing the Isthmus of Panama, discovers thePacific Ocean. 

1904

The United States, succeeding France, begins operations on the PanamaCanal. 

1915

The Panama Canal is opened to the commerce of the world. 

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The United States has put thru the canal, so the American eagle withoutstretched wings is seen as a decorative motive on either side of theTower - with telling suggestions. 

The hand of the law is governing the commerce of the Panama Canal, henceyou receive that gentle reminder in the Roman insignia, the fasces. 

In the old Roman days of the kingdom, as well as in the days of theRoman republic, the lictor marched in front of the head of the Statecarrying the fasces, those twelve birch rods with the ax, indicatingpunishment and then death if the laws were not obeyed. 

The fasces are seen at the extreme ends of the wings of the tower. 

It is interesting to see this same device used in the Liberal ArtsPalace and in the Educational Palace - especially in reform exhibits orsuch exhibitions as the New York Educational Exhibit, where the hand ofstate is suggested. 

The laurel wreath on the tower is another speaking motive. 

The vessels push out in all directions from the Panama Canal. You getthat suggestion at the corners of the third lift. 

Don't lose sight of the beautiful turquoise green columns in the templeforms of the Tower. At night the aquamarines follow out the samebeautiful color. 

Watch, when the Tower is first illuminated with the blood glow, and youwill see that it almost pulsates with life. It should, for is it not thevital part of this great Exposition?

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Jewels on the Tower

There are some ten tons of jewels used at the Exposition. 

Fifty thousand jewels are used on the Tower alone, accenting in the mainits architectural feature. 

These jewels are of live colors - mostly canary and white glass, ruby, emerald, aquamarine. 

Mathematical calculations have been made by expert physicists to show atjust what angle the jewel must be cut. 

These jewels were made in Austria. 

Nearly every village in Austria has its glass workers - the finestworkers in their line in the world. 

Sand of a peculiar quality is most carefully prepared, mixed with otheringredients, the whole being brought to a molten state. 

This glass is then poured into molds. 

It is taken out of the molds, the casts being carefully trimmed by hand. The principal tool used is a rotating sanded wheel. 

The prism is polished by hand with tin, so as to make the facetsperfectly smooth. This glass must be very hard in order to reflectsufficiently well. 

The glass is called Sumatra Stone. It is tinted to counterfeit jewels. These jewels are held in place by metallic bands from which extend smallarms at the back of each jewel to hold tiny mirrors which assist in thereflection. 

Each jewel is suspended from a hook so that it is in constant vibration, in order to catch the rays of light most advantageously. 

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As you have now rehearsed your history and have in mind what has beendone by the United States in regard to the Panama Canal (the Tower ofJewels), walk thru the Court of the Universe to the Esplanade wherestands the Column of Progress. 

The Column of Progress

The prototype of this column is seen in Trajan's Column in the Forum ofTrajan or in the Column of Marcus Aurelius, in Rome. 

Architect - Symmes Richardson, one of the junior partners of the firm ofMcKim, Meade and White of New York. 

The bas-reliefs at the base are by Isadore Konti of New York. 

The sum of all human effort is represented. Man's spiritual progress isseen on the four sides of the base. 

Atlas rolling the heavens suggests the passage of time. 

Men with their different ideals in the long procession of progress areseen. Some go manfully on, some fearfully, some feel the need of thesword to win their way, others find companions necessary, but all ofthese men and women must have faith (represented by the two meaningfulwomen at the door), the hope of the palm of victory, and hear the buglecall as they go on their upward climb. 

They pass before us, these men and women of different aspirations, anddisappear from view. 

Up, up they climb. 

At the top of the column is Hermon A. McNeil's Burden Bearers, supporting his Adventurous Bowman. 

"All must toil to win" and some must bend their backs that others mayrise. Has it not been so at the Panama Canal?

Have not many done the labor that the United States, the AdventurousBowman, may win?

This purposeful type of manhood, with magnificent decision, has justdrawn the bow, and on has sped the arrow of success. 

The bowman looks to see it hit the mark. 

The man on the right possibly is one of his aids. 

The little woman at his side will know by his eyes if the arrow has gonehome, and she will then bestow upon him the laurel wreath and the palmof victory which she holds in her hand. She stands ready to help him. 

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See the group from the sea-wall directly in front of the Column ofProgress for the splendid purpose expressed in the figure and on theface of the "Adventurous Bowman. "

Many San Franciscans would like to have this wonderful group duplicatedin bronze to remain permanently with the city of the Exposition of 1915. 

The Court of the Agesand not The Court of Abundance

Architect - Louis Christian Mullgardt of San Francisco. 

Architecture - If one could call this beautiful architecture by name onemight say Spanish Gothic, on account of the round-arched Gothic and alsothe Spanish finials used, but it is so thoroughly original that this ishardly the term to use. It is Romanesque in its vaulting of thecorridor, and at first glance in its great square tower, and arches, andyet not Romanesque architecture. 

It is suggestive of the last period of English Gothic in its richparallelism of vertical line - and yet is not that. 

It is suggestive of the flamboyant decoration of the French architecturesuch as one sees and feels at Rouen Cathedral - and yet, not that, foron looking closer one sees not wavy line suggesting flame, but the waveof the kelp of the sea - and then one realizes that the vertical linesrepresent falling water. 

The kelp is turned, looped and suspended with all sorts of lobsters, crabs, sea-turtles, octopi, flounders, etc. , wriggling thru it, not seenat first, then in strong evidence, making you wonder why you had notseen them before. 

The whole cloister represents the magical power of water and fire workedout in travertine, fountains and illuminations. 

This court certainly shows the most marked originality in thearchitectural line at the Exposition. It is the conception of a man ofrare invention, imagination, and marked poetic feeling. It is surely thelast word in stucco. Everybody loves this Court of the Ages, andeverybody wishes that we could have something permanent like itsomewhere - perhaps in San Francisco. We shall all be loath to part within when the two hundred and eighty-eight days are gone. 

The arches of perfect proportions are allowed two swinging fairylanterns apiece - a soft glow coming from them. 

In the corridors are globes which at night look like lambent moonstones, casting soft light. 

Walk down the corridors (not noticing the glorious murals at the ends)to observe the fine manipulation of color. 

Notice that the usual pink of the walls has here a deeper tone - aterra-cotta warmth added, making a most wonderful combination with theblue vault above. The arches are of smoked ivory. Your eye catches aline of cerulean blue at your side, and up you follow the blue, until itgains its fullest expression in the square area of the groined vaulting. Notice how bands of smoked ivory play the part of transverse arches. Itis so very beautiful here. 

The murals in this corridor are more wonderful than words can tell. Theyare by Frank Brangwyn of London, and represent Earth, Air, Water, Fire. 

Earth - Two canvases represent the Earth, the teeming, opulent earthgiving of its fullness. Men with great baskets gather the harvests ofvegetables and fruits (especially the luscious grapes in the secondcanvas). 

Fire - One canvas shows Primitive Fire, where by means of leaves andtwigs the narrow curl of smoke ascends between the trees. Men on bendedknees blow the slowly burning leaves and fan the flame. 

The aged draw near to feel the warmth; nearer comes the man with thelittle child in his arms - and, as a result, we have a homely woodlandscene of primitive times. 

The second representation of the same subject glows on the next canvas. 

The subject is Industrial Fire. Men have made a rude furnace in whichthe pots are being baked. Pots of all sizes and shapes are being broughtby the men and women of the neighboring region. 

The great cloud of blue smoke rises in increasing breadth and heightthru the trees. 

Don't fail to notice the wonderful skies in these two canvases. 

Water - On a portion of land between two waters men and women havesauntered down to the water's edge to fill their jars. The flamingoes, birds of the water, stand in the foreground telling you that water isnear. Plants grow luxuriantly on the banks. Pregnant clouds are blownnearer and nearer. The canvas is fairly moist with watery suggestions. 

It would not be hard to realize when you look at this canvas that it wasdone by a man who understands the art of making stained-glass windows. He cannot keep his secret from you. 

The second treatment of Water - Great brawny-armed fishermen are pullingin their heavy net. In the distance come men with baskets on their headsto carry away the wriggling fish. Beyond the trees the heavymoisture-laden clouds come nearer and nearer. 

Air - A great windmill such as one sees in Frank Brangwyn's etchings(for he lived during his youth in the windmill country, making what hesaw around him his own). 

The wind has brought the storm-laden clouds and the rain is descending. The currents of moisture-laden air are reflecting the rainbow. The wheatof the field bends far forward as the wind blows over it. 

The belated harvesters (the foremost with his winnowing sieves) areblown forcibly along their path. 

The many flowers bend their heads under the forward movement of thebreeze. It is most interesting to notice how many devices have been usedin order to make the work as suggestive as possible. 

The second treatment of Air. The great trees are most noble in theirstrength. 

Men, strong like the trees, are shooting thru the air their arrows. 

A flock of frightened white birds are cutting the air, showing you whythe men are there. This is a simple but clever treatment of the subject. 

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If you would know why you feel that there is something ancestral inthese glorious compositions, why the strong colors are so well combined, why the canvases breathe freedom of thought and action, why thedistances are so marvelously expressed, why the sky and water are justthat deep wonderful blue, read Sparrow's "Frank Brangwyn" and you willsoon discover, and the appreciation for the pictures will be increasedtenfold. 

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Now step down into the Cloister, so that you can see well Helios, thesetting sun. This was the primitive man's idea of the setting sun. Hesaw the sun as a man holding a huge golden ball, splashing down into thewaters of the west. The serpent represents the burning sting of the sun. 

You are bound to reflect here that the sun has thrown off great nebulousmasses and that one of those masses has cooled and that we now call itthe Earth. Yonder it is, seen at the end of the fountain, with fourstreams of water, from prehistoric sea life, playing over it. 

Pass along to the first group beyond Helios, realizing that Robt. Aitken, the sculptor, calls this "The Dawn of Life. " From right to leftare these figures:

1. The Hand of Destiny Giving Life. 2. The Prenatal Sleep of Woman. 3. The Awakening. 4. The Joy of Living. 5. The Kiss of Life. 6. The Bringing Forth of Life. 

The elemental feelings are here suggested. 

You will then notice a gap which stands for the unknown period ofhistory after the first "Dawn of Life. "

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Now pass to Panel 1 (facing Helios). 

The central figure is Vanity, one of the compelling motives of thatearly life. 

Following are two fine figures carrying their children, expressing theidea of the fecundity of the early races. 

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A hermes divides this panel from the next. Since in classic times aherm, or hermes, was used to mark distances on the roads, so here thehermes is used to mark distances, or periods in time. 

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Panel 2 - We now see the successors of the children of the previouspanel grown to manhood. The fact of Natural Selection inflicts itselfupon man. Two women are attracted to the same male, a fine intellectualand physical type. The rejected suitors are seen at the end of thepanel, one in anger, the other in despair. 

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Panel 3 is called The Survival of the Fittest. This is the suggestionthat physical strength decides who shall survive. We notice thatchieftains struggle to possess the same woman, a woman on the rightendeavoring to separate them. 

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Panel 4 is called The Lesson of Life. 

Elders of experience attempt to give counsel to the love-lorn andimpetuous, knowing that impulse may sometimes be a poignant foe. 

Returning to Panel 1, the two figures at the right represent Lust, another of the strong forces of the early peoples. 

You have now reached your first group beyond the gap. 

The first figure is Greed, the third motive in this history of life. Hehas been holding onto the material things of life - there they are, rolled into a great ball. He realizes how futile his life has been andlooks back upon the past, longing to retrace his steps and live tonobler purpose. 

Then comes the old man who has the spiritual understanding, and he knowsthat the only hope for his companion is the realization of thespiritual, the consciousness of immortality, and so he gives to her thewinged beetle, the symbol of renewed life. 

The time has now arrived for her to leave her mortal life, and shepasses into that sleep by which her material body is cast aside. 

Thereby the man has his first sorrow. She whom he loved is gone, and heis cast down in despair - because his outlook is not a spiritual one. 

The hand of Destiny has drawn these lives unto itself. The law has beenfulfilled. 

I have taken the liberty of culling the chief ideas from the article onthe subject, written for the November "International Studio, " adding afew ideas which seem consistent with the work before us. 

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This fountain, done in pierced relief, is most decorative in the Courtof the Ages. It is, from a technical standpoint, a most remarkablecomposition. 

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The next subject for study is The Tower. Notice the small spire atop. Itis like a flêche on a French cathedral and helps in the French feelingwhich you had when you thought that you had discovered the flamboyantstyle, and yet, on the whole, it is more the style of Spanish towersthan of the French. 

Most of the figure work on the tower is by Chester Beach, formerly ofSan Francisco. 

The groups on the tower are now to be considered. 

The combined work is called The Rise of Civilization. 

The lowest group is Primitive Man during that period when greatreptiles, like the saurian in the foreground, crept over the earth; whenman fought with huge serpents and gigantic lions. 

The rude man in the center has his child on one arm, the other armprotecting his mate (not an ordinary position for the arm of primitiveman). 

You easily surmise that trouble is near. His look of dogged defiancetells you that he is marching forth to meet some enemy, man or beast. This is the first march of civilization - one in which brute strengthplays the principal part. 

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Just above, you notice that civilization has now reached the mediaevalstage and you see the Crusader with cross on breast and sword in hand. He has reached this lofty position thru faith (represented by thepriest) and war (suggested by the rude warrior). The spiritual has nowbeen added to the physical. 

At the side of the tower, holding the same position on the tower as doesthe Crusader, are suggestions of the crusader's tomb such as one sees inmany of the English churches. The Crusader passes on and his place istaken by more advanced types. 

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On either side of the Crusader appears the paschal candlestick (which atnight is illuminated). 

You are approaching the altar. 

Above is the Priestess of Religion, with the nimbus surrounding herhead. At her feet are children holding, one a book, indicating faith, and the other the wheel, meaning progress. 

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Around the court, on the highest pinnacles, are cocks, signifying thedawn of Christianity (in reference to Peter's denying Christ). 

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Come back to the tower and you will notice a man and a woman on eitherside of the altar. They are rising from the primitive man and theprimitive woman at their feet. They represent the man and the woman oftoday. In the case of the man, you will notice how primitive man holdson to him and how the man of today endeavors to shake him off. (The manof today, by the power of thought, is trying to shake the rude brutishnature off. )

(These figures are by Albert Weinert. )

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Primitive Man and Primitive Woman, by Albert Weinert, are seen asfinials around the court. He is a simple hunter, or a man whose pastimeconsists in such amusement as feeding fish to the pelican. She is awoman whose chief work is to rear children. 

Leo Lentelli's Aquatic Maids are grouped at the bases of the columns infront of the tower. It was at first planned to have the fountains playto the tops of the columns on which sit the aquatic maids shooting theirarrows into the waters, but a change in the plans left the aquatic maidshigh and dry, hence your wonderment at why they sit aloft. 

(Leo Lentelli was born in Bologna, Italy, but now lives in New York). 

The Italian cypresses, tall and slender, stand like sentinels in frontof the arches. 

Orange trees, ten feet in height, heavy with fruit, stand in opulencebefore the cypresses. 

Balled acacias, with repeated regularity of shape, produce in thischarming cloister a delightful formalism. 

Solid beds of pink hyacinths add a glowing touch of color in thisbeauteous garden. 

The creeping juniper is the border used. 

The cistus is the border used around the other beds. Under the trees areplanted calceolarias, gebara, Shasta daisies, potentilla, columbine, andmany other showy flowers. 

The conventional standards at the south end of the cloister are aids inthe illumination. 

This court is most beautiful at night. 

The tower, in white light, has the glowing candlesticks in strikingevidence. 

Great clouds of seeming incense rise constantly from the altars rangedaround the court. Fiery serpents belch fire into the basins below. Beneath the world and around it rises the steam, which is marvelouslyilluminated. 

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The North Court of the Ages

Eucalypti, acacias, English laurel and veronicas are banked closetogether in this court. Great beds of orange eschscholtzia, theCalifornia poppy, make this court a veritable Field of the Cloth ofGold. 

The creeping juniper is the border used. 

Sherry Fry's "Listening to the Sound of the Ages" stands in this courtwith her shell to her ear. She listens to the stories that the sea hastold the shell, and wonderful, very wonderful, is what she hears. 

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Since the first issue of this book I have received in written form Mr. Mullgardt's own wonderful interpretation, which I hereby append with hiskind permission. I shall not correct my work, for it will be interestingto compare the work of a layman with that of the initiated:

San Francisco, April 19, 1915. 

The Court of the AgesA Sermon in Stone

"The Court of the Ages" is 340 feet square. The surrounding walls are 75feet high. The Tower is 200 feet high. The floor of the Court declinesto the central Basin, affording the observer a full view of thesurroundings. The arcaded and vaulted Ambulatory extends continuouslyaround the four sides. The floor of this Ambulatory is elevated abovethe upper floor level of the Court for the convenience of observers. Itsarchitecture has not been accredited to any established style. 

The Court is an historical expression of the successive Ages of theWorld's growth. The Central Fountain symbolizes the nebulous world withits innate human passions. Out of a chaotic condition came Water (theBasin) and Land (the Fountain) and Light (the Sun supported by Helios, and the Electroliers). The Braziers and Cauldrons symbolize Fire. Thefloor of the Court is covered with verdure, trees, flowers and fruits. The two Sentinel Columns to the right and left of the Tower symbolizeEarth and Air. The eight paintings in the four corners of the Ambulatorysymbolize the elements of Earth, Air, Fire and Water. The Central Figurein the North Avenue symbolizes "Modern Time Listening to the Story ofthe Ages. "

The decorative motifs employed on the surrounding Arcade are sea plantlife and its animal evolution. The conventionalized backbone, the symbolfor the vertebrates, is seen between the arches. The piers, arches, reeds and columns bear legendary decorative motifs of the transitionalplant to animal life in the forms of tortoise and other shell motifs -kelp and its analogy to prehistoric lobster, skate, crab and sea urchin. The water-bubble motif is carried through all vertical members whichsymbolize the Crustacean Period, which is the second stratum of theCourt. 

The third stratum, the Prehistoric Figures, surmounting the piers of theArcade, also the first group over the Tower Entrance, show earliestforms of human, animal, reptile and bird life, symbolizing the StoneAge. 

The fourth stratum, the second group in the Altar Tower, symbolizeshuman struggle for emancipation from ignorance and superstition in whichReligion and War are dominating factors. The kneeling figures on theside Altar are similarly expressive. The torches above these MediaevalGroups symbolize the Dawn of Understanding. The Chanticleers on thefinials surrounding the Court symbolize the Christian Era. The topmostfigure of the Altar symbolizes Intelligence, "Peace on Earth, Good WillTowards All" - the symbols of Learning and Industry at her feet. Thetopmost figure surmounting the side Altar symbolizes Thought. 

The Arched Opening forming the inclosure of the Altar containsalternating Masks expressing Intelligence and Ignorance in equalmeasure, symbolizing the Peoples of the World. 

A gradual development to the higher forms of Plant Life is expressedupward in the Altar Tower, the conventionalized Lily Petal being thehighest form. 

L. C. Mullgardt. 

Court of the Four Seasons

It will be noticed that this court is planted mainly with grey-greenfoliage, the banner poles being of the same color. 

Flora

Olive trees. Choisya ternata. High-grade acacias. Coprosma (from Chili - a shiny-leafed shrub on north front). Eucalypti. Cotoneaster bufolia (border). English yews in couples of three groups. Cypresses. English laurel. 

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Architect - Henry Bacon of New York. 

Architecture - Italian Renaissance. 

There is a strong feeling of the architectural influence of Hadrian'sVilla, near Rome, when the eye rests on the half dome and also on thetreatment of the columns in front of the fountains of the seasons. 

This is one of the chief beauty spots of the Exposition. A quiet, reposeful, happy place where birds have built their nests and where theysing their carols of spring. 

As you pass into this court from the bay, or north side, your attentionis drawn almost immediately to the bucrania, or bulls' heads, betweenfestoons of flowers. 

This is only a Renaissance motive, but the mind wanders back to theharvest festivals of olden days, when, after the great harvestprocession was over, the bulls were sacrificed to the gods as a rewardfor the abundant harvest. The same idea is worked out in "The Feast ofthe Sacrifice, " the magnificent bull groups atop the pylons (by AlbertJaegers), where youths and maidens lead the bulls in the harvestprocession. Great garlands suggest the festivity. 

The whole court is an expression of the abundance of the harvests -especially those of California. 

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Ceres, the goddess of agriculture, with her wreath of cereals and hercorn sceptre, has just poised on the top of the lovely fountain (by Mrs. Evelyn Longman), the die of which tells you by its cameo figures thatthis is the fountain of young, fresh, joyous nature. The graceful, happycreatures with garlands and fruits glide past you in song, shaking thetambourine or softly piping their roundelays. 

Jolly satyrs, the happy creatures of the woodland, spout water into thebasin below. 

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The Food Products Palace is on one side, the Agricultural Palace on theother, and the suggestions worked out in the corn of the Ionic capital, the cereal wreaths on the frieze, the sheaves of wheat, are most happydecorations for just this court. 

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Pass to the Pool beyond and stop to read the quotation. (from Spenser's"Faerie Queene") on the western gateway. 

"So forth issew'd the seasons of the yeareFirst lusty spring all dight in leaves and flowresThen came the jolly sommer being dight in a thin silken cassock coloured greeneThen came the autumne all in yellow cladLastly came winter, clothed all in frizeChattering his teeth, for cold that did him chill. "

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Facing the half dome, walk first to the second niche to the right of thecolonnade to examine Furio Piccirilli's Seasons. 

Spring - A pyramidal group with Spring with her flowers in the center ofthe group. To the right is modest, timid, fresh young Flora, bringingher wealth of flowers. 

To the left, one sees man adoring, bringing to mind Tennyson's linesfrom Locksley Hall. 

"In the spring a young man's fanciesLightly turn to thoughts of love. "

Here is that fine feeling that one has in beautiful springtime - theadoration for all fresh young life. Look above now at Milton Bancroft'smurals to left and right. He has painted all of the murals in thiscourt. 

"Spring" is here in floral dress and the shepherd pipes sweet notes. 

"Seed-time" - This is the time when the seed bag stands open so that thecrops for the coming year may be sown. 

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Marble group of Summer - Go to the left, along the corridor beyond thegateway, to the second niche - this group expresses fruition. 

The mother brings to her husband the babe, the fruit of their love. 

The laborer at the right brings in the first harvest. 

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Murals

Summer - This is the period of the year when man amuses himself, whenthe games are in progress. One sees the disc thrower at the left restingafter the game. Summer is crowning the victor of the canoe race. 

Fruition - Fruits, vegetables, flowers fulfill the meaning of thesubject. 

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Now pass out into the open to the niche at the left of the gateway ofthe east. 

In the niche is Autumn, a mature figure indicative of the maturity ofthe year. (Mr. Piccirilli calls her Providence. ) It is the time of theharvests. The apples, the grapes, and even the human family are beingharvested. The wine is being made and the great vine-decked jars arefilled with the ruby fluid. 

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Murals

Autumn - The colors speak of autumn. Here is seen the amphora of wine, the tambourine, the rhyton, the Greek drinking horn, and the raisedGreek cup - all suggesting the time of festivity after the harvests. 

Harvest, and one sees the garnered wheat and vegetables. 

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Standing between the two central columns and looking toward the halfdome, the eye wanders to the summit, and there, seated on her greatcornucopia, the symbol of abundance, is Harvest with her plenteoussupply of luscious fruits. 

The dates from the south are being borne in on one side, while the greatsheaves of wheat are seen on the left. 

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Standing on the pedestal at the right of the half dome is Rain (byAlbert Jaegers) catching the drops in her shell. 

Sunshine (by Albert Jaegers) shielding her eyes with the long palmbranch - the rain and the sunshine so necessary for the harvests. 

Walk over to see the detail of the capitals and bases of the columns. 

On the capitals of these pedestals, on which Rain and Sunshine stand, are the small figures of harvesters - a most charming, originaltreatment. 

At the bases one sees harvest scenes. 

The agriculturists pass along to their labors. The women and childrenaccompany the laborers, expecting to help in the many duties of theharvest field. The dog, wagging his tail, follows after the children, and all is activity. 

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You will now find it convenient to examine the murals on either side thegreat half dome. 

Facing the Dome. 

On the right is Man Receiving Instruction in Nature's Laws. The work isperfectly plain. You could not go astray if you simply read theinscriptions. 

An interesting thing to notice is that "Mother Earth" is a man bearingfruits and that "Father Neptune" is a woman with a trident. 

Nature's laws are applied to:

Earth, Water, Fire. Love, Life (protecting the flame of life) and Death. 

On the left is:

Art Crowned by Time. 

The queen of art with her sceptre and palette (with the suggestion ofarchitecture in the temple in the background) is crowned by Father Time, holding his hour-glass. His scythe is seen in the background. Time isbestowing the laurel wreath. At the sides stand the arts of -

Jewelry making, Weaving, Glass making, Painting, Smithery, Pottery. 

The emerald pool is before you wreathed with the cotoneaster bufoliawith its wealth of red berries. 

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Pass now to the last season of the year in the niche to the left of thehalf dome, Winter. 

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Before you is naked winter. Back of her is the leafless tree, withsplitting bark. 

At the left one feels that man rests after the activities of the harvestseason, but there is an added idea in Mr. Piccirilli's words, "Inwinter, the central figure is Nature resting, or rather in a state ofconception. To the right an old man is resting after having prepared thesoil for the seed; at the right a strong man is sowing. "

Murals

Winter with the snow on the ground. 

The fire is necessary; faggots have been gathered; the animals arebrought in for the winter food. 

The time for spinning has arrived during the long winter evenings(considering the life of today this idea is almost obsolete). 

Festivity - Winter strikes the strings of the harp and gaiety is aboutto glide forth. 

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The seasons are again suggested by names of the signs of the zodiac onthe gateways, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces. 

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Look thru the entrance into the Court of Palms at the HorticulturalPalace across the way - a fine green and white picture. 

Turn back into the Court of the Four Seasons and below the half domewill be seen Albert Jaeger's

Nature (there is a great probability that this will not be placed). 

Mother Earth, the great mother, sits in the center. 

On the left, carrying the shell, is the Sea. 

On the right, upholding the globe, is the Heavens. 

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Read the quotation from George Sterling's "The Triumph of Bohemia" tomake the connection with your Nature group:

"For lasting happiness we turn our eyes to one aloneAnd she surrounds you nowGreat Nature, refuge of the weary heart, and only balm to breasts that have been bruisedShe hath cool hands for every fevered browAnd gentlest silence for the troubled soul. "

Near by are August Jaeger's figures of Abundance, four times repeated oneach gateway; also his spandrel figures, still adding harvest thoughts. 

Walk along the colonnade to the right -

As you pass the fountains, you will notice how the water slips itssilvery pink reflection from the wall down the terraces into the poolbelow, producing almost a sunrise or a sunset effect. 

The long hanging vine on the wall above is muhlenbeckia, the so-calledmaidenhair vine. 

The shorter vine is lotus bertolletti, showing later its red claw-likeflowers. 

Court of Palms

As a balance to the Court of Flowers at the east end of the block ofpalaces is the Court of Palms at the west end. 

The general effect in color of decoration is pink and blue. 

The columns are coupled Ionic of smoked ivory, producing a most lovelyeffect against the pastel pink walls back of them. 

The caryatids lining off the pink and blue marble panels show a softflush of pink. (These are by A. Stirling Calder and John Bateman. )

The festoons of fruits at the side of the panels are accented in deeperblues and soft reds. 

Notice the delicate figures on either side the cartouche over theportals. The pinks and blues are so delightfully combined. 

Between the columns, against the wall, are balled acacias. 

The Pool in the center of the Court might be called The Pool ofReflections. 

In front of this Court is "The End of the Trail, " by James Earle Fraser. 

Before you is the end of the Indian race. The poor Indian, following hislong trail, has at last come to the end. The worn horse and its ridertell a long, pathetic story. 

By the entrances are great vases on which in low relief are Bacchanalianscenes. Satyrs form part of the handles. 

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Over the doorways are beautifully colored murals. 

On the west -

Fruits and Flowers, by Childe Hassam, a fine area of superb color. 

On the east -

The Pursuit of Pleasure, by Chas. Holloway, gracefully carrying out theidea of this court. 

On the north -

"Victorious Spirit, " by Arthur F. Matthews. 

This wonderful golden note represents the Victorious Spirit, the Angelof Light, with widespread wings of protection. She is the means by hergentle influence of keeping materialism (represented by the horse drivenby brute force) from riding over the higher expressions of life. 

Muhlenbeckia borders the pool, producing a most fernlike effect. 

At the side, in front of the flanking Italian Towers, are erica andepacris, in lavenders and pinks, accented by deep lavender pansies. 

The tiny border to the beds is myrtus ugni. The wallflowers, interspersed with Spanish and English iris, are massed thruout thiscourt, with rhododendrons in the corners. Against the foundations ispink-and-cream lantana. 

The Palm is the strong feature of the court. On either side the portalItalian cypresses have been used. 

The lanterns in the corridors have been modeled from Roman lamps, andare particularly beautiful in perspective. 

The Court of FlowersDedicated to the Oriental Fairy Tales. 

This exquisite court is by Geo. Kelham of San Francisco, who came fromNew York just after the San Francisco fire to help in the reconstructionof the city. 

He is a man of pronounced ability and has just won in the competitionfor plans for the new San Francisco Public Library. 

The court is made one of great beauty by the collaborated work of Mr. Geo. Kelham, the architect; Mr. Jules Guerin, the colorist, and Mr. JohnMcLaren of San Francisco, the chief of landscape gardening. 

A loggia runs around the second story of the court, interrupted alongthe face by niches which hold "The Oriental Flower Girl, " designed byMr. A. Stirling Calder of New York, but worked out in the studio of theExposition. 

Coupled columns, suggesting glacial ice, form a colonnade around threesides of the court, the fourth side opening into the Avenue of Palms. 

As you walk down the main path of this court you are held spell-bound bythe fairy-like appearance of the albizzia lophantha, trimmed four feetin height, the top of which branches out into a head five feet across. 

One has the feeling of meeting fairies with their skirts out ready forthe dance - a veritable fairy ballet. Nothing could be more lovely thanthis remarkably treated tree. The rich yellow fluff that will soonappear, lasting for some four to six weeks, will be one note of theyellow chord to be struck in this court-pansy, daffodil, albizzia, theorange and the yellow background of niches. (This floral music for Marchand April. )

A symphony in yellows. 

The groups of trees at the north are the eugenia myrtifolia. 

Every one appreciates the blessing of the trees and flowers, withoutwhich the Exposition would have lost much of its beauty. 

The flowers used at the opening of the Exposition can alone be given, but these will serve to show the plan of arrangement. 

The six lions are by Albert Laessle, who has many fine examples of hisanimal life in the Fine Arts Palace. 

The fountain of Beauty and the Beast, which should have been placed inthe Court of Palms, the Court of Occidental Fairy Tales, is by a youngSan Franciscan, Edgar Walters, whose fine bears can be seen in the FineArts Palace. 

The base of the fountain shows a procession of beasts - the bear, thecynocephalus ape, the lion. 

Upholding Beauty and the Beast are fauns and satyrs, playing on theirpipes. 

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Walk down the colonnades and take note of the coupled smoked ivorypilasters on the pink ground. 

A fawn-colored ceiling has suspended from it Italian bronze lanterns -the bronze suggestive of the color of the blue eucalyptus. At nightthese lanterns glow with color. 

In front of the Court of Flowers is "The American Pioneer, " a finemeaningful equestrian figure, by Solon Borglum of Ogden, Utah. 

I am taking the liberty of quoting Secretary Lane's inspiring wordsgiven at the opening of the Exposition - a fine retrospect that we mustnot lose sight of when we look upon the determined woodsman of the earlyAmerican life:

As I went through these grounds yesterday, I looked for some symbol thatwould tell me the true significance of this moment, I saw that thesculptor had carved prophets, priests and kings; he had carved theconquerors of the earth, the birds in the air and the fish in the sea. He had gone into legend and history for his symbols, but in none ofthese did I find the suggestion that I sought. 

I found, however, in the court that lies before us, the simple, modestfigure hidden behind some soldiers - a gaunt, slim, plodding figure, andI said to myself, there is the figure that represents this day, forwithout the American pioneer we would not be here this day, no bannerswould be flying, no bands playing. 

He has-lived for centuries and centuries. He took sail with Ulysses andhe was turned back. He took sail with Columbus, and when he heard thatsailor shout, "Sail on and on, " his heart was glad; but Columbus foundhis way barred, and then this pioneer landed at Plymouth Rock, and withthat band of oxen he has trudged his way across the continent, he hasgone through the sodden forests, where Nature for a thousand years hasconspired to make his pathway impossible. 

He has gone through the icy streams, climbed the mountains, tracked hisway over the plains, over the land where there is no horizon, gonethrough the gorges where the Titans have been, and at last he has gotit, beside the Golden Gate, beside the sunset sea, and founded himselfthis city, this beautiful city of dreams that have come true. And he hasdone more than that, he has gathered around himself his sons, and nowthey set themselves down here to tell each other tales of their progressthrough the centuries. 

The sons of the pioneers - theirs be the glory today, for they haveslashed the continent in two, they have cut the land that God made aswith a knife, they have made the seas themselves to lift the shipsacross the barriers and mountains, and this accomplishment we celebrate. 

They have brought the waters of the far Sierras and turned these watersinto living light that put new stars in the heavens at night. They havehung their sky-line with a garden of flowers; they have worked a magic. They have gathered here in all these temples to tell their victory - thepioneers - what they have done and in what manner. This city has beenfinished in blue and gold, in scarlet and purples and the greens of thesea, and burnt brown, and the scene shown the pioneer has made thearchitecture of the centuries to march before their eyes in columns andcolonnades. 

The long journey of this light figure of the pioneer is at an end, thewaste places of the earth have been found and filled, but adventure isnot at an end; the greatest adventure is before us, the giganticadventures of an advancing democracy - strong, virile and kindly - andin that advance we shall be true to the indestructible spirit of theAmerican pioneer. 

The Italian Towers

Architect - Geo. Kelham of San Francisco. 

Architecture - Italian Renaissance with Byzantine touches. (See picturefacing page 22. )

These very beautiful towers are seen in pairs on either side The Courtof Flowers and The Court of Palms, and assist in the fine balancepreserved thruout the block of palaces. 

They are not alike, as you will see when you examine them. The pairflanking The Court of Flowers is far simpler, and produces quite adifferent effect, when illuminated, from its sister towers. 

The vibrant red that seems to give throbbing life to these beautifultowers is one of the chief glories of the night-glow. 

The entrances at the base of the tower are accented by magnificent Sienamarble columns, and the coloring from these entrances to the top of thetowers is most unique. 

The long rectangular height is admirably treated with a most originaldiaper design. 

Jules Guerin, the colorist, has used small areas of color on the towersto play upon the color of the courts below. 

For instance, note the pastel-pink walls, the greatest color area of thecourts reflected, as it were, upon the largest colored area of thetowers; the travertine of the courts acting as a background for thetowers, the burnt orange capitals shown in the use of the same color onthe tower, the Indian red appearing through the design as it appears onthe capitals. 

The result is a sort of dissonance that makes the harmony of the courtsmore charming than ever. 

The most adroit management of the blue-checkered border is seen. It isthe means of drawing your colored diaper work toward that bluebackground, the sky, and is superb in its connecting force. 

The little towers above, with the turquoise-blue columns, show a mostdaring use of color when you consider the colors below, but howadmirably that turquoise blue works onto the domes and the blue columnsof The Tower of Jewels. 

The longer you look at the Italian Towers the more you come to feeltheir subtle connection with the beauties around. 

Only a genius could manipulate his colors as Jules Guerin has done inthis splendid work before you. 

The repeated cartouche in turquoise blue has a most lovely effect uponthe whole. 

Poised on the top of the Italian Towers is The Fairy (by Carl Gruppe). She looks afar and sees the vision of this wondrous Exposition. 

The Palace of Fine Arts

Architect - Bernard R. Maybeck of San Francisco. 

Architecture - Old Roman in the main, with Italian Renaissance features. In the background is the fire-proof art gallery of 113 rooms. 

In front is a pergola, extending along an arc 1100 feet from end to end. Ochre columns are closely grouped with pale green ones. 

The Roman Corinthian capitals are burnt orange with an Indian-redground. 

The columns sweep forward on either side the rotunda, in the dome ofwhich are Robt. Reid's eight murals. 

1st Panel - Birth of European Art. 

The central point of the picture is the altar on which is seen thesacred fire. The guardian of this altar holds the torch. She has threeattendants, one holding a flask of oil, one pouring oil upon the altarand ready to apply the torch should the flame grow dim, a third onecarefully watching the flame. An earthly messenger, holding back hisrearing steeds, leans from his chariot to receive the torch ofinspiration. A winged attendant checks for an instant the flight ofthese steeds. In the left corner a woman holds a crystal ball in whichthe future of art is revealed. 

2nd Panel - The Birth of Oriental Art. 

The forces of earth try to wrest inspiration from the powers of the air. This is shown in an ancient Ming legend. 

We see a Chinese warrior, mounted on a writhing dragon, combating aneagle. Japan is seen under the great umbrella. Two more Oriental figuresare seen. 

3rd Panel - Ideals in Art. 

Greek ideal in the classic nude is seen. 

Religion - Madonna and Child. 

Heroism - Joan of Arc. 

Youth and Material Beauty - Young woman on the left. 

Absolute nature without ideal or inspiration - peacock. 

Mystic figure in background holds cruse of oil to pour onto the sacredflame. 

A winged figure floats above with laurels for the victorious living. 

A shadowy figure in foreground holds the palm for the dead. 

Panel 4 - Inspiration in All Art -

Music, Painting, Architecture, Poetry, Sculpture. 

The torch that kindles the arts is again seen. 

The veil of darkness is drawn back, revealing the arts. 

There are also four panels showing the four golds of California -

Gold, Wheat, Poppies, Oranges. 

"The whole scheme is to show the conception and birth of art, itstranslation to earth, its progress and acceptance by man. "

Below these murals, on the octagonal drum, is The Priestess of Culture, by Herbert Adams, eight times repeated. 

This outline has been taken from the official report. 

The dome of the Rotunda is burnt orange, with the guilloche below itworked out in turquoise green. Notice the great flower receptaclesfilled with the reddish cryptomeria of Japan. 

In front of the Rotunda is Ralph Stackpole's Kneeling Figure. She is adevotee to art, beauty, truth, and kneels at the altar. 

Among the trees along the pergola are many statues in bronze and marble. 

Don't fail to see Janet Scudder's bewitching fountain figures as youwalk past the Pergola. 

At the south, near the Pool, among the trees, sits St. Gauden's fine"Lincoln. "

Opposite is J. Q. A. Ward's statute of "Henry Ward Beecher. "

Around the corner, "The Bisons, " by Proctor. 

Follow along by the Pool and you meet "The Scout, " by Cyrus Dallin. 

No words can describe the great poetic beauty of this Fine Arts Palace. It seems to be the pivotal part of the Exposition, the goal of allpilgrimages, the altar on which you place your ideals. It has so manymoods that one must see it in all seasons, during all times of the day, and especially under the illuminations. 

The figure of "Aspiration, " by Leo Lentelli, is suspended - as is allaspiration - over the main entrance of the Fine Arts Palace. 

Walk over to Administration Avenue so that you can look across the Poolat the panels. 

They are by Bruno Zimm of New York. 

They represent the Arts and a long procession of devotees. 

In the center of one panel, called "The Unattainable in Art, " one seesArt represented. On either side is the battle between the idealists, thematerialists and the artists. 

Many idealists have fallen, but the centaurs, the materialists, seem tobe held back by the artists who are striving to reach Art herself. 

We are all striving to reach the so-called unattainable, but it meansthe battle with materialism before we can do it. Yonder stand beauty, health, truth - the flowers of the spirit - but we must pass the centaurto make that figure of Truth attainable. 

Then comes the Apollo Panel, and Apollo, the leader of the arts, in hischariot, seems to be in a long procession preceded and followed bydevotees of the fine arts. 

Next comes the Pegasus Panel, indicating inspiration in the arts. Ahead, marches Music with his lyre, who, like a sort of Orpheus, is stillingeven the beasts. 

The figures between the panels represent those who stand ready to dobattle for the arts. 

Ulric H. Ellerhusen has done the flower boxes, with women at thecorners. Vines were to have fallen over the figures from the boxes, allowing only a shoulder, a head, or a long line of the drapery toappear, but the plans had to be changed, hence the figure now in fullevidence. The women are looking into the flower-laden boxes. 

As you stand by the Pool, notice the shrubs and flowers near by. 

Near the columns are Monterey cypresses. Grey-green artemisia is between the columns. Ten thousand periwinkles are on the banks. Five thousand Spanish iris. Many Japanese iris. California incense shrub. Yellow primroses. One thousand white callas. One thousand yellow callas. One thousand California violets. The shiny-leaved coprosma from Chili. Blue-flowered buddleia. Groups of pittosporum. Pampas grass from Brazil. Hundreds of daffodils (in March). The weeping willows. 

A great group on the north of erica, epacris, and cryptomeria. 

Across from the erica is the red-berried cotoneaster horizontalis. 

Near the columns on the north side by the Pool grows the purpleagapanthus. 

The Catalina cherry is massed against the building on the north. 

The pink-flowered escallonia is found under the columns near the Pool. The orange-berried pyracantha cretaegus is seen in all its glory on thenorth. 

Heliotrope makes the air one of sweet perfume. Polygala, with pea-likeblossom, is seen near the base of the columns. 

In the Pool have been put five hundred papyrus plants and five hundredJapanese water lilies. 

These are a few of the many wonderful blooms seen here. 

The vistas and reflections are ever new and beautiful from every turn ofthe Pool. 

Palace of Horticulture

Architects - Bakewell and Brown of San Francisco. 

Architecture - Byzantine in the arrangement of the domes (the mosque ofAhmed I of Constantinople being the inspiration) and in the use of tallfinials suggesting minarets, but quite French in its ornamentation. 

The building is one of great beauty and is considered one of the finestexhibit palaces ever erected at any exposition. 

The ornamentation below the dome is by Boutier. 

The Caryatids of the Caryatid Porch are by John Bateman of New York. 

The great opulence of the harvests of California is brought to mind bythe lavish abundance of the ornamentation on this building. 

The combination of the smoked-ivory color of the travertine and thelattice green of the decorations produces a more lovely effect. 

The basket atop is over thirty-three feet in diameter. 

The dome is 152 feet in diameter. St. Peter's dome is 137 feet; thePantheon dome is 142 feet. 

Under the dome will be a constant display of hothouse plants. At theopening of the Exposition were seen cinerarias and cyclamen of glorioushue. 

A wonderful display of orchids is seen in another portion of this greatbuilding. 

Those interested in orange packing will have a chance to see thedifferent stages of the packing as shown from the arrival of the fruitat the packinghouse to the nailing of the cover on the box. 

A model olive-oil press is in working order and will afford greatinterest. 

Great steel framework will enable the vast amount of glass of the dometo withstand the wind pressure. 

The dome will be illuminated three times a week. 

It will at times look like a great pearl or a fiery opal. 

Luther Burbank, the wizard of horticulture, and Carl Purdy, of bulb andwild flower fame, will have headquarters at this palace during theentire Exposition, ready to answer and help those who apply to them. 

Sixty-five acres of land are to be devoted to horticultural interests. 

The Netherlands have fifty-three thousand square feet in a wonderfuldisplay of bulbs and other plants. 

Horticultural Interests

All the areas on the Exposition site were composed of drifting sands orsands that had been pumped in from the bay, upon which no ornamentalplant could grow. 

It was necessary to bring down from the Sacramento Valley rich soil(fifty thousand cubic yards), and spread sixteen thousand cubic yards offertilizer over that, in order to maintain lawns, trees and shrubs. 

An immense number of trees, ranging from thirty to sixty feet in height, were moved from Golden Gate Park and the Presidio of San Francisco. Itis the largest number of evergreen trees ever moved in connection withany landscape work. 

Many plantings will be made thruout the Exposition. It will require themoving of four hundred thousand plants each time a change is made. 

Work on the eucalyptus trees was started two years ago, when the plantswere six inches high, in flats. 

These little trees were transferred into other flats and placed on hotbeds. After six weeks of this treatment they were transferred to 12-inchboxes. They remained there for a period of eight months and then wereput into 18-inch boxes and made a vigorous growth. They are now 25 feetin height. 

In boxing large specimen trees the following method was adopted: Thetrees were side-boxed, and, after the roots were cut, three inches ofspace was allowed between the ball and the sides of the box, and thisthree-inch space was secured with good surface soil so as to startside-root action. 

The plants were mulched and watered for a period of from four to sixmonths, when the bottom of the box was put on. This method has been mostsuccessful in transplanting palms and trees in general. 

(These facts were kindly given by Mr. Donald McLaren of the Departmentof Landscape Gardening, San Francisco. )

The South Gardens

Throughout the Exposition these garden beds are to show a succession ofblooms. At the opening of the Exposition five thousand daffodils were inbloom over two hundred thousand yellow pansies. 

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The South Gardens, besides having two great pools, at the end of whichare the Mermaid Fountains by Arthur Putnam of San Francisco, have a mostdecorative fountain called the Fountain of Energy. 

In the pool below are seen great sea animals, representing:

1. The Atlantic Ocean, with coral in hair and seahorses in her hand, riding on the back of an helmeted fish, suggestive of armored cruisers, etc. 

2. The North Atlantic, an Esquimaux riding the walrus, ready to spearthe enemy. 

3. The South Atlantic, a negro riding on the back of a sea-elephantplaying with an octopus. 

4. The Pacific Ocean on the back of a great creature unknown on land orsea. 

In the pool, on the dolphins' backs, ride most charming sea maidens. 

Around the base of the earth are grouped sea spirits. 

The earth shows on one side a great bull representing the WesternHemisphere, a great lioness denoting the Eastern. 

One sees the swirling of the waters around the figure of Panama. 

Surmounting the globe, standing in his stirrups, rides Energy, the forcethat has overcome the play of the waters and has put thru the PanamaCanal. Energy is strongly suggested by this stalwart male, who rides on, having surmounted all difficulties. This is the great power that isresponsible for the completion of the Panama Canal, and Fame and Victoryblow bugles long and loud from his shoulders. 

The idea of energy is further carried out by the splendid play of thewaters from the fountain itself, tremendous force being evident. 

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At the west end of South Gardens, opposite the Band Concourse, are mostinteresting groups of trees, shrubs and flowers. The members ofdifferent floral families have taken the opportunity of meeting andestablishing themselves in the same neighborhood, and the result isdelightful for the lover of flowers. Now is the time to studydifferences and similarities in the plant world - and our opportunitiesare appreciated. 

Notice the splendid groups of trees and shrubs on either side ofHorticultural Palace. 

Monterey pines, Monterey cypresses, Lawson cypresses, acacias, laurustinus, veronicas and dahlias are grouped so as to make a mostremarkable effect in form and color. 

The Dracaena Canariensis or Canary palm, as we are in the habit ofcalling it, and the Washingtonia robusta, or California fan palm, areseen in alternate arrangement, double rows on either side the Avenue ofPalms. 

On the south side of the Exposition grounds is a wall, twenty feet high, of living green. It is made of mesembryanthemum spectabilis put inboxes, six feet by two by two and a half inches, filled with earth, overwhich is put a wire-mesh screen. This is the first time this work hasbeen tried and it has proved to be a thorough success. 

Festival Hall

Architect - Robt. Farquhar of Los Angeles, California, widely known forhis fine domestic architecture. 

On the south side of the Avenue of Palms, opposite the Court of Flowers, stands the building in which the majority of the musical festivals ofthe Exposition are to be held. 

The main hall will hold three thousand people. 

There are about five hundred conventions to meet here during the timethe Exposition is open. 

The organ, of marvelous tone and sweetness, is one of the finest in theworld. 

Edwin H. Lamare of London will give one hundred performances, eachrecital beginning at 12 M. He starts his musicals the first of June. 

The building is French in style, having been inspired by the Beaux ArtsTheatre, Paris. 

It has a large dome, the cupola of which is lighted by projectorsbeneath the floor of the building. 

Sherry Fry of Iowa has done the sculpture, all of it being suggestive offestivity. 

Bacchus, with his grapes and wine skin, reclines on one side, while "TheReclining Woman" listens from her position. 

On the west are two Floras with their festoons of flowers. 

Little Pan sits with his panpipes on an Ionic capital over which isthrown a fawn skin. He has just stopped playing to watch the lizard thatcreeps at his side. 

The Torch Bearer, a most graceful figure, is poised on each corner dome. 

A border of pinkish-lavender hydrangeas, four feet in diameter, with afringe of lavender and pink baby primroses, adds much to the beauty ofthis spot. 

Pinkish-lavender erica, or heath, borders the steps leading fromFestival Hall to the Avenue of Palms. 

Above the western entrance one see the old Greek drinking horn, therhyton, suggestive of festivity. 

The Color Scheme

Jules Guerin, probably the greatest man in his particular line in theworld, has had complete charge of the Exposition coloring. 

He has used only five colors, but of course these colors are not all thesame tone. 

All walls are pastel pink or a sunset shade, as seen in the Court of theAges. All niches are the same shade. 

All ceilings and shells are ultramarine blue, with two exceptions. TheCourt of the Ages is a pastel blue, and that of the Court of Palms isfawn-color. 

The domes of the Fine Arts Palace, and the Court of the Universe, areburnt orange, or, as one writer has expressed it, "sea-weed washed withbrine. "

The other domes are an oriental green, approaching copper-green. 

The capitals when colored are burnt orange, with either anultramarine-blue or an Indian-red ground. Columnettes and a fewdecorative bands are of turquoise-green. 

There is a unity, a balance, a color beauty all unto itself. You see itin the architecture, sculpture, and painting, in the arrangement of thedecorations, in the courts. Then over it all hangs the spirit of romancesuch as surrounds the days of old Castile. 

A mediaeval beauty and splendor bring longings for the pageants thatwould add a world of interest. 

There is a Graeco-Roman appeal in the long colonnades, the porticoes, the fountains, the courts. 

The Orient is strongly marked by the domes, the minaret suggestions, theelephants, and minor details. 

It is an Arabian-Nights-Tale - not a thousand and one nights, but twohundred and eighty-eight. 

Siena marble is used mainly at entrances and for pedestals. Thetravertine is pinkish, grey and cream. Doorways in shadow are of latticegreen. Flag-poles are colored Spanish red. Lighting standards are green, ochre, or eucalyptus blue. Banners are ochre and cadmium. 

The world has never seen such an Occidental-Oriental harmony as in thisExposition. 

The traditions of the olden days are so strongly worked into thesepalaces and courts that one feels more than he can tell when wanderingin this world of beauty; and we the laymen owe a debt of gratitude tothe architects, sculptors, painters, horticulturists, financiers, engineers and the workmen who have given us this dream city of 1915. 

Index

AbundanceAcroteriumAdams, HerbertAdventurerAdventurous BowmanAgricultureAirAitken, RobertAmerican PioneerAngel of PeaceApollo PanelAquatic MaidsArch of Rising SunArch of Setting SunArmoured HorsemanArt Crowned by TimeArtsAspirationAtlasAutumnBacchusBacon, HenryBakewell and BrownBancroft, MiltonBateman, JohnBeach, ChesterBeauty and the BeastBeecher, Henry WardBisonsBorglum, SolonBrangwyn, FrankBucraniaBurden BearersBurroughs, Edith WoodmanCalder, A. StirlingCanephoriCaryatidsCeresCortezCrusaderCummingsDallin, Cyrus EdwinDawn of LifeDay TriumphantDeneville, PaulDescending NightDodge, Frank de LeftwichDomesDome of PhilosophyDome of PlentyDu Mond, Frank VincentEaglesEarthEducationElectricityEllerhusen, Ulric H. Elwell, Frank EdwinEmerald PoolEnd of the TrailFairyFarquhar, RobertFavilleFeast of the SacrificeFestivity, FireFlanagan, JohnFountain of El DoradoFountain of EnergyFountain of Psychology of LifeFountain of YouthFour Golds of CaliforniaFraser, James EarleFrench, Daniel CheaterFruits and FlowersFruitionFry, SherryGenii of MachineryGenius of CreationGentle Powers of the NightGerlach, GustaveGruppe, KarlGuerin, JulesHarley, CharlesHarvestHassam, ChildeHastings, ThomasHeliosHermesHolloway, Chas. Hospice of Santa Cruz, ToledoHumphries, Charles A. ImaginationInventionJaegers, AlbertJaegers, AugustJoy of LivingKelham, GeorgeKneeling FigureKonti, IsadoreLaessle, AlbertLentelli, LeoLesson of LifeLincoln, AbrahamLionsListening to the Sound of the AgesLongman, EvelynMcKim, Meade and WhiteMcLaren, JohnMacNeil, Hermon A. Man Receiving Instruction in Nature's Law (Mural)Manship, PaulMatthews, ArthurMaybeck, Bernard R. Men from AtlanticMermaid FountainMinerMullgardt, Louis ChristianMusicNahl, PerhamNations That Have Crossed the Atlantic (Mural)NatureNatural SelectionNewman, AllenNiehaus, CharlesOld World Handing Burden to New WorldOriental Flower GirlPanPanama Canal (Murals)Patigian, HaigPegasusPegasus PanelPetersPhilosopherPiccirilli, FurioPiratePizarroPool of ReflectionsPower of IndustryPriestPriestess of CulturePriestess of ReligionPrimitive ManProctor, P. ProvidencePursuit of PleasurePutnam, ArthurRainReclining WomanReid, RobertRichardson, SymmesRise of CivilizationRising SunRoth, FrederickRumsey, CharlesSaint Gaudens, AugustusScout, TheScudder, JanetSeed TimeSetting SunSimmons, EdwardSpanish CavalierSpringStackpole, RalphStar, JeweledStea, CesareSteam PowerSummerSunshineSurvival of the FittestThoughtTonettiTorch BearerTriumph of the FieldsUnattainable In ArtVaried IndustriesVictorious SpiritWalters, EdgarWard, J. Q. A. Ward and BlohmeWarriorWaterWeinert, AlbertWeinmann, A. A. Whitney, Gertrude V. Winter, WorkmanYoung, MahonriZimm, BrunoZodiac, Signs of