An Art-Lover's Guide to the Exposition

Explanations of the Architecture, Sculpture and Mural Paintings, With aGuide for Study in the Art Gallery

By Sheldon Cheney

BerkeleyAt the Sign of the Berkeley Oak1915

Copyright 1915 by Sheldon Cheney

Printed and Engraved by Sunset Publishing House San Francisco

Contents

ForewordThe Architecture and Art as a WholeCourt of AbundanceCourt of the UniverseCourt of the Four SeasonsCourt of Palms and Court of FlowersTower of Jewels, and Fountain of EnergyPalaces Facing the Avenue of PalmsPalaces Facing the Marina, and the Column of ProgressPalace of MachinerySouth Gardens, Festival Hall, and Palace of HorticulturePalace of Fine ArtsOutdoor Gallery of SculptureFine Arts GalleriesState and Foreign Buildings, and Scattered Art ExhibitsIndex

Foreword

This handbook is designed to furnish the information necessary forintelligent appreciation of the purely artistic features of theExposition. It is planned first to explain the symbolism of thearchitecture, sculpture and painting; and second, to point out thespecial qualities that give each artistic unit its individual appeal. Itis made for the intelligent observer who, having enjoyed the purelyaesthetic impression of the various works of art, feels a legitimatecuriosity about their meaning. 

Everything possible has been done to make the volume a guide rather thanmerely a general treatise. The chapter groupings are the most obviouslyserviceable ones. Running heads will be found at the tops of the pages, and the sub-headings and catch-titles in each chapter are designed tomake reference. To individual features as easy as possible. A completeindex is added at the end. 

Purely destructive criticism and ridicule have been carefully avoided. But if the writer did not pretend to a power of artistic discriminationwhich is lacking in the average layman who has not specialized in artand architecture, there would be little excuse for preparing the guide. The praise and criticism alike are such, it is hoped, as will aid theless practiced eye to see new beauties or to establish sounder standardsof judgment. 

Acknowledgment is made to the official Exposition press bureau forcourtesies received, and to those artists who have supplied informationabout their own work. For obvious reasons no material has been accepteddirect from articles and books already published. If certainexplanations of the symbolism seem familiar, it is only because allwordings of the ideas echo the artists' interpretations as given out bythe press bureau. 

Acknowledgment is due also to the Cardinell-Vincent Company, officialphotographers, since most of the illustrations are from their prints. 

S. C. 

The Architecture and Art as a Whole

In the art of the Exposition the great underlying theme is that ofachievement. The Exposition is being held to celebrate the building ofthe Panama Canal, and to exhibit to the world evidences of the progressof civilization in the decade since the last great exposition-a periodamong the richest in the history of civilization. So the ideas ofvictory, achievement, progress and aspiration are expressed again andagain: in the architecture with its triumphal arches and aspiringtowers; in the sculpture that brings East and West face to face, andthat shows youth rising with the morning sun, eager and unafraid; and inthe mural paintings that portray the march of civilization, and thattell the story of the latest and greatest of mankind's triumphs overnature. But perhaps the most significant thing of all is the wonderfullyharmonious and unified effect of the whole, that testifies so splendidlyto the perfect co-operation of American architects, sculptors andpainters. 

The dominant note artistically is harmony. At no other exposition havethe buildings seemed to "hold together" so well; and at no other hasthere been the same perfect unity of artistic impression. The ChicagoExposition of 1893 focused the artistic expression of the nation at thattime. It brought about the first great awakening of the country inartistic matters, and it practically revolutionized Americanarchitecture. The St. Louis Exposition of 1904, while less unified inplan, gave another great stimulus to architecture, and especially tosculpture. But the Panama-Pacific Exposition should have a morefar-reaching effect than either of these, because its great lesson isnot in the field of any one art, but in showing forth the immense valueof coordination of all the arts in the achievement of a single gloriousideal. The great thing here is the complete harmony of purpose, ofdesign, and of color, in the combined work of architects, sculptors, painters, and landscape gardeners. The sensible plan that results inperfect convenience in getting about, the clothing of this plan in nobleand fitting architectural forms, the use of sculpture and painting as anintegral part of the architectural scheme, the tying in of buildings tosite with appropriate planting, and the pulling together of the wholecomposition with harmonious color-these are the things that will leavetheir impress on American art for all time to come. If each student ofthe art of the Exposition takes home with him an understanding of thevalue of this synthesis, of this co-ordination of effort, he will havethe key to the Exposition's most valuable heritage to the Americanpeople. 

Physically there are three distinct parts to the Exposition: the maingroup of exhibit palaces, the Zone, and the state and foreign buildings. The art-lover will be concerned almost entirely with the first of these;for artistically the Zone expresses anarchy, and the state and foreignpavilions are given over almost entirely to social and commercialinterests. 

Architecture

The architecture of the central group of palaces and courts is a notabledeparture from that of most of the expositions of the past. There arenone of the over decorated facades, none of the bizarre experiments inradical styles, and little of the riot of extraneous ornament, that havebeen characteristic of typical "exposition architecture. " The wholespirit here is one of seriousness, of dignity, of permanency. Theeffects are obtained by the use of long unbroken lines, blank wallspaces, perfect proportioning, and a restrained hand in decoration. Color alone is relied upon to add the spirit of gayety without which thearchitecture might be too somber for its joyous purpose. 

The ground plan is remarkable for its perfect symmetry. On the main eastand west axis are grouped eight palaces, about three interior courts. Atthe east end the axis is terminated by the Palace of Machinery, whichcuts off the main group from the Zone. On the west the axis isterminated by the Fine Arts Palace, which separates the central groupfrom the state and foreign buildings. The main cross axis is terminatedat the south by the Tower of Jewels and the Fountain of Energy, and atthe north by the Column of Progress on the Marina. The two minor crossaxes end at the south in the Horticulture Palace and Festival Hall-thetwo great domed structures that naturally would separate themselves fromthe main plan and at the north these axes open on the Marina and thebeautiful bay view. 

This plan is admirably compact. It has the effect of a walled city, giving a sense of oneness from without, and a sense of shelter fromwithin. The plan eliminated the usual great distances between exhibithalls, at the same time providing protection against the winds thatoccasionally sweep over the Exposition area. More important still, thethrowing of the finer architectural effects into the inner courtsallowed freedom in individual expression. In the court system thearchitects obtained unity with great variety of style, and harmonywithout monotony. 

The plan was worked out by a commission of architects. But the greatestcredit must be given to Edward H. Bennett, who first conceived thewalled-city idea, and who brought his long experience in city-planningto serve in determining the best method of utilizing the magnificentsite. 

The style of architecture cannot be summed up in any one name. Practically every historic style has been drawn upon, but there are veryfew direct copies from older buildings. The old forms have been usedwith new freedom, and occasionally with very marked originality. As onelooks down on the whole group of buildings, the Oriental feelingdominates, due to the many Byzantine domes. In the courts and facadesthe Renaissance influence is strongest, usually Italian, occasionallySpanish. Even where the classic Greek and Roman elements are used, thereis generally a feeling of Renaissance freedom in the decoration. Onecourt is in a wonderful new sort of Spanish Gothic, perfectly befittingCalifornia. In the styles of architecture, as in the symbolism ofpainting and sculpture and in the exhibits, one feels that the East andWest have met, with a new fusion of national ideals and forms. 

The material used in the buildings is a composition, partaking of thenature of both plaster and concrete, made in imitation of Travertine, amuch-prized building marble of Italy. This composition has the warmochre tone and porous texture of the original stone, thus avoiding theunpleasant smoothness and glare which characterize stucco, the usualExposition material. 

Sculpture

In one way more than any other, the sculpture here surpasses that ofother expositions: it is an integral part of the larger artisticconception. It not only tells its individual stories freely andbeautifully, but it fits perfectly into the architectural scheme, addingthe decorative touch and the human element without which thearchitecture would seem bare. 

The late Karl Bitter was chief of the department of sculpture, andalthough there is no single example of his work on the grounds, it washe who, more than any other, insisted upon a close relationship betweenthe architecture and the sculpture. A. Stirling Calder was acting chief, and he had charge of the actual work of enlarging the models of thevarious groups and placing each one properly. 

The material of the sculptures is the same as that of the buildings, Travertine, thus adding to the close relationship of the two. 

Mural Paintings

The mural paintings as a whole are not so fine as either thearchitecture or the sculpture. The reason can be traced perhaps to thefact that painting does not readily bow to architectural limitations. Inthis case the artists, with the exception of Frank Brangwyn, who paintedthe canvases for the Court of Abundance, were limited to a palette offive colors, in order that the panels should harmonize with the largercolor scheme. 

Color

Never before was there an exposition in which color played such a part. Here for the first time a director of color was placed above architectand sculptor and painter. Jules Guerin, chief of color decoration, hassaid that he went to work just as a painter starts to lay out a greatpicture, establishing the warm buff of the building walls as a groundtone, and considering each dome or tower or portal as a detail whichshould add its brilliant or subdued note to the color harmony. Not onlydo the paintings and sculpture take proper place in the tone scheme, butevery bit of planting, every strip of lawn and every bed of flowers orshrubs, has its duty to perform as color accent or foil. Even the gravelof the walks was especially chosen to shade in with the general plan. 

As seen from the heights above the Exposition-and no visitor should goaway without seeing this view-the grounds have the appearance of agreat Oriental rug. The background color is warm buff, with variousshades of dull red against it, accented by domes and columns of palegreen, with occasional touches of blue and pink to heighten the effect. 

In the courts the columns and outer walls are in the buff, or old ivory, tone, while the walls inside the colonnades have a "lining color" ofPompeian red; the ceilings are generally cerulean blue; the cornices aretouched with orange, blue and gold; and occasional columns of imitationSiena marble, and bronzed statues, set off the whole. 

In connection with the color scheme, great credit must be given to JohnMcLaren, chief of the department of landscape gardening, who has workedso successfully in co-operation with architects and color director. TheExposition is built almost entirely on filled ground, just reclaimedfrom the bay; and it was a colossal task to set out the hundreds ofthousands of flowers, shrubs and trees which now make the gardens seempermanent, and which set off the architecture so perfectly. 

Lighting

When one's soul has been drenched all day in the beauty of courts andpalaces and statues and paintings, dusk is likely to bring welcome rest;but when the lights begin to appear there comes a new experience-aworld made over, and yet quite as beautiful as the old. Walls are lostwhere least interesting, bits of architecture are brought out in reliefagainst the velvet sky, and sculptures take on a new softness andloveliness of form. Under the wonderfully developed system of indirectillumination, no naked light is seen by the eye; only the soft reflectedglow, intense when desired, but never glaring. If this lighting is notin itself an art, it is at least the informing spirit that turns proseto poetry, or the instrumental accompaniment without which the voice ofthe artist would be but half heard. Too much credit cannot be given tothe lighting wizard of the Exposition, W. D'Arcy Ryan. 

The Court of Abundance

The Court of Abundance is the most original, and perhaps the mostconsistently beautiful, of all the Exposition courts. No other is soclearly complete in itself, without the intrusion of features fromsurrounding buildings and courts. No other has the same effect ofcloistered seclusion partly because each of the others is open on oneside. And certainly no other indicates so clearly the touch of theartist, of the poet-architect, from the organic structural plan to thefinest bit of detail. Even the massive central fountain, thoughconceived in such different spirit, has no power to dispel the almostethereal charm that hovers over the place. 

The distinctive note of the court is one of exquisite richness. As oneenters from any side the impression grows that this is the mostdecorative of all the courts; and yet one is not conscious of anyindividual bit of decoration as such. Everything fits perfectly: arches, tower, cornices, finials, statues, planting-it all goes to enrich theone impression. Someone has said that the court is not architecture, butcarving; and that suggests perfectly the decorative wealth of thecomposition. 

Architecture

The style of architecture has been guessed at as everything fromRomanesque and Gothic to Flamboyant Renaissance and Moorish. The truthis that the court is a thoroughly original conception; and the architecthas clothed his pre-conceived design in forms that he has borrowed fromall these styles as they happened to suit his artistic purpose. Thespirit of the court is clearly Gothic, due to the accentuation of thevertical lines-and one will note how the slender cypresses help thearchitecture to convey this impression. The rounded arches, modified infeeling by the decorative pendent lanterns, hint of the awakening of theRenaissance period in Spain, during the Fourteenth and FifteenthCenturies, when the vertical lines, and decorative leaf and othersymbolic ornaments of the severer Gothic, were so charmingly combinedwith classic motives. 

The architecture here is inspiring as a symbol of the American"melting-pot. " It is a distinct and original evolution, recalling thegreat arts of Europe, and yet eluding classification. The court showsthat the designer was master of the styles of the past, but refused tobe a slave to them; at the same time he had an original conception butdid not let it run into the blatant and bizarre. It is from such fusionsof individual genius with the traditions of the past that a distinctiveAmerican architecture is most likely to flower. 

The tower is a magnificent bit of architectural design. It is massiveand yet delicate. It dominates the court, and yet it fits perfectly intothe cloister. The rich sculpture is so much a part of the decorativescheme that there is no impression of the structure having been"ornamented. " One must search long in the histories of architecture tofind a tower more satisfying. 

The architect who designed the Court of Abundance is Louis ChristianMullgardt, one of the two most original geniuses among California'sarchitects. 

It is well to enjoy this court at first for its beauty alone, withoutregard to its rich symbolism. One who has thus considered it, merely asa delight to the eye, usually is surprised to find that it has a deeperunderlying meaning than any of the other courts. The present name, "Court of Abundance, " is not the original one. The architect conceivedit as "The Court of The Ages. " It is said that the Exposition directors, for the rather foolish reason that a Court of the Ages would not fitinto the scheme of a strictly contemporaneous exposition, re-christenedit "The Court of Abundance. " But it is the former name that sums up thethought behind the decorative features. 

The underlying idea is that of evolution. The tower sculptures, whichwill be more fully explained in following paragraphs, representsuccessive ages in the development of man-the Stone Age, the MediaevalAge, and the Present Age. The decoration of the cloisters may be takenas symbolizing the evolution of primitive man from the lower forms oflife. Thus the ornamental garlands that run up the sides of the archesare of seaweed, while other parts of the decoration show crabs, lobstersand other of the lower forms of sea life. Higher up the ornamentincludes conventionalized lilies suggestive of higher plant life. Andsurmounting the colonnade, one over each pier, are the repeated figuresof primitive man and primitive woman. It is at this height that thetower sculptures begin, carrying on the story of man up to the presentage. At a level between the Stone Age group and the Mediaeval Age is arow of cocks, symbols of the rise of Christianity. Perhaps the wholeaspiring feeling of the court is meant to further suggest the upwardrise of man-but after all, the purely sensuous beauty of thearchitecture is sufficient to warrant its being, without any strainingafter symbolism. 

Sculpture

Groups on the Tower. The three main groups typify the rise of man, andespecially the rise of man's civilization through religion. The lowestgroup, over the main arch, is called The Stone Age. Along the base areprehistoric monsters, and above are figures representing various phasesof primitive life, as a man strangling an animal with his hands, and afigure that may suggest the rude beginnings of art or industry. Theheads indicate a period of evolution when man was not very differentfrom the ape; but the central figures suggest the development of familylife, and a new outlook and a seeking for something higher. 

The middle group, The Mediaeval Age, shows an armored figure with swordand shield, a crusader perhaps, with the force of religion symbolized inthe priest or monk at one side, and the force of arms suggested by thearcher at the other, these being the two forces by which man was risingin that age. 

The third and highest group represents The Spirit of the Present Ageenthroned. At one side a child holds the book of learning, while at theother a child holds the wheel of industry. The group also carriesinevitably a suggestion of motherhood. 

Flanking the middle group are two figures, in which the whole idea ofhuman evolution is suggested by a modern man and woman outgrowing theirold selves. On the east and west faces of the tower are figuresrepresenting "Thought. "

All the sculpture on the tower is by Chester Beach. 

Figures Surmounting Colonnade. Two figures of "The Primitive Man" andone of "The Primitive Woman" are repeated above the cloister all aroundthe court. The woman carries a child on her back, one man is feeding apelican, and the other is a hunter returning with a club in one hand andhis quarry in the other. These figures are remarkably well suited totheir purpose, balancing one another exactly; they are so much a part ofthe decorative scheme, indeed, that the average person is likely tooverlook their merits as individual statues. Albert Weinert was thesculptor. 

The Water Sprites. At the tower side of the court, flanking the stairwaythat leads to the archway under the tower, are two free-standingmonuments that were designed as fountains. The original plan called forcascades from below the Stone Age group on the tower to these monuments. Although the elimination of this feature made the court more simple andsatisfying as a whole, the figures of the Water Sprites were left highand dry, so that now there is a certain incongruity in their position. Still one may admire the very spirited girl archers surmounting the twocolumns, even if they are apparently launching arrows at their sistersprites below, instead of into jets of water as was intended. Thefigures at the bases of the columns, while lacking the grace and thejoyous verve of those above, still are very decorative. All are the workof Leo Lentelli. 

The Fountain of Earth. In the large basin in the center of the Court ofAbundance is Robert Aitken's "Fountain of Earth. " While plainly out ofkeeping with the spirit of the court, this is in itself one of the mostpowerful and most interesting sculptural compositions at the Exposition. It is deeply intellectual, and more than any other group it requires anexplanation of the symbolism before one can appreciate it. 

The fountain is really in two compositions. The larger, and central, oneis composed of a globe representing the earth, with four panels offigures on the four sides, representing certain of the incidents of lifeon earth, or certain riddles of existence. The secondary compositionlies to the south of the central one, on the same pedestal; and this isdivided into two groups by a formalized wing through the center. The twoscenes here represent life before and after earthly existence. The twohuge arms and the wing are all that can be seen of Destiny, the forcewith which the allegorical story begins and ends. 

To "read" the fountain in proper sequence, one must start with the westface of the secondary group. This represents The Beginning of Things. The arm of Destiny is calling forth life and points the way to theearth. The three women figures next to the hand show the gradualawakening from Oblivion. The adjoining two figures represent the kiss oflife or of love, and the woman is holding forth to the earth thechildren created of that love. The entire group on this west face, considered in relation to the main composition, may be taken asrepresenting the peopling of the earth. 

There is now a gap which one must pass over, to reach the South panel ofthe central composition. This gap represents the lost period of timebetween the peopling of the earth and the beginning of history. 

The South panel of the main structure has as its central figure Vanitywith her hand-glass. Whether the artist intended it as a pessimisticcommentary on all human life, or not, his series of episodes on earthbegins and ends with the figure of Vanity. Reading to the left on thissame panel one sees a man and a woman starting the journey of life onearth, apparently with suffering but certainly with courage perhaps forthe sake of the children they carry. 

The West panel now shows the first of three incidents or problems oflife on earth. This is entitled Natural Selection. Two women turn to oneman who is clearly superior to the two men they are leaving. The two whohave been spurned as mates cling to the hands of the women even whilethey are turning away. 

The North panel represents The Survival of the Fittest. Two men are incombat, the woman at the left evidently to be the prize of the victor. At the other side a woman tries to draw away one of the combatants. Thesculptor has given this group a second title, "The Awakening of the WarSpirit, " which is equally applicable. 

The East panel is entitled The Lesson of Life. A young man and a youngwoman turn to each other through natural impulse, while an older womanwith the experience of life attempts to counsel them. On the other sidean old man restrains an impetuous youth who evidently would fight forthe girl. 

Turning the corner now to the South panel again, there are two figuresrepresenting Lust trying to embrace a reluctant woman. Then one comes toVanity once more, and the story of life on earth is done. Again there isa gap, and the scene leaves the earth for the unknown world afterphysical death. 

The East face of the minor group first shows the figure of Greed, withhis worldly goods now turned literally to a ball of clay in his hands, gazing back at earth in puzzlement. The next two figures show Faithoffering the hope of immortality (as symbolized in the scarab) asconsolation to a sorrowing woman. Finally there are two figures sinkingback into Oblivion, drawn by the hand of Destiny. Thus the cycle fromOblivion through life and back to Oblivion is completed. 

In the same basin, at the far south end, is a figure of The Setting Sun. This was part of the artist's conception of the Fountain of Earth, therelation to the main group being found in the supposition that the earthis a mass thrown off by the sun. Thus is emphasized the idea that theearth and life on earth are but a very small part of the wider unknownuniverse and life. 

At the four corners of the main composition of the fountain, separatingthe four panels, are Hermae, terminal pillars such as the Greeks andRomans were fond of, decorated with the head of Hermes, god ofboundaries. 

Having worked out the story, it is well to go back to appreciate thepurely aesthetic qualities of the fountain. Note especially the feelingof strength in the figures, the firm modeling, and the fine way in whichthe figures are grouped. The composition of the west face of the minormonument is especially fine, and the very graceful lines here make anintimate appeal that is not evident in some of the other groups. Thewhole monument is austere and strongly compelling rather than intimatelycharming. If it is the first duty of art to make people think, this isthe most successful bit of sculpture on the grounds. 

Mural Paintings

The mural paintings in, the Court of Abundance consist of eight panelsby Frank Brangwyn, perhaps the greatest living mural decorator, placedin the four corners of the cloister. Though not entirely in key with thecolor scheme and not an integral part of the court as a whole, these aredistinctly the works of a master. Ultra-learned critics will tell youthat they fail as decorations, since they are interesting as individualpictures rather than as panels heightening the architectural charm. Buttheir placing shows clearly that there was no intention that they shouldappear as part of the architectural scheme. It is better to accept themas pictures, forgetting the set standards by which one ordinarily judgesmural painting. 

The eight paintings represent the elements: two panels each for Fire, Earth, Air and Water. There are no conventional figures herepersonifying the elements, but scenes from the life of intensely humanpeople, typifying the uses to which man has put the elements. 

Fire. Beginning on the tower side of the court, at the northeast corner, are the two panels representing Fire. The one on the north wall iscalled "Primitive Fire. " A group of figures surround a fire, somenursing it and some holding out their hands to the heat, while a man atthe back brings fagots. Note the color accents in the robes of the threestanding figures. 

"Industrial Fire, " on the east wall, represents the bringing of fireinto the service of man. In some particulars this is among the finest ofthe paintings, but the transverse cloud of smoke seems to break itawkwardly. 

Earth is represented in the two panels in the northwest corner. The oneon the north wall is entitled "The Fruit Pickers, " typifying the wealthof products that man obtains from the earth. This is perhaps the richestof the panels, in the profusion of color and of alluring form. 

The panel on the west wall is "The Dancing of the Grapes, " a variationof the theme of "The Fruit Pickers. " It tells the story of the grape:above are the pickers and the harvesters with baskets; at the right twofigures dancing to crush the juices from the grapes; and in theforeground a group with the finished wine. The confusion of figures atfirst is puzzling; but viewed simply as a spotting of bright colorsthere is no finer panel among them all. It is better to stand well backalong the colonnade, and forgetting the subject, to delight in thepurely sensuous impression. 

Air is represented in the two panels in the southwest corner. The one onthe south wall is called "The Hunters. " The theme is suggested in theidea of the arrows fleeing on the wings of the air, and also by theflight of birds above. 

The panel on the west wall is called "The Windmill. " Note how thefeeling of moving air is suggested everywhere: in the skies at the back, in the clouds and the kites, in the trees and the grain-field, in thedraperies, and even in the figures themselves that are braced againstthe wind. The coloring is glorious, and the composition fine. Thedisposition of masses of light and dark is notable the dark figuresgrouped against the golden grain, and the gold-brown windmill againstthe dark sky. No panel in the grounds will better repay intensive study. 

Water is represented in the panels of the southwest corner of the court. The one on the south wall is called "The Net, " and typifies the wealththat man draws from the water. A group of fishermen are hauling in anet, and carriers bring baskets at the back. 

"The Fountain, " the panel on the east wall, shows a group of people whohave come to fill their jars at a spring. The colors here are softer, though quite as rich as elsewhere. The lower half of the painting is, indeed, like a richly colored mosaic. 

After examining "The Fountain" at close range it is well to step back tothe middle of this south corridor. Look first at "The Windmill" and thenturn to look again at "The Fountain. " Note, how, when the subjects areonce understood, the great distance increases rather than decreases thecharm of the paintings. Note especially how beautiful each one is whenconsidered merely as a pattern of color. These two panels, if not thefinest of all, at least must take rank among the best three or four. 

The North Court of Abundance

Passing under the tower from the Court of Abundance one comes out in thelittle north court that is conceived in the same spirit, and whichlikewise is dominated by the Mullgardt tower. The architecture here islike an echo of that of the main court, the decorated spaces alternatingwith bare spaces. The tower sculptures are all repeated on this side. The only sculpture within the north court is Sherry Fry'spersonification of Aquatic Life. The statue is of a heavy sort thatshould be anywhere but in this place of ethereal mood and exquisitedetailed workmanship. Blot out the background and you can see that thefigure has a certain solid grace. But if designed for this court itfails of its decorative purpose. 

Court of the Universe

The Court of the Universe is the most magnificent of the courts. Considering the many units-the noble arches, the long colonnades withtheir corner pavilions, the sunken garden with its fountains anddecorative sculpture, and the vista to the Column of Progress and theMarina-it is by far the richest in artistic interest. But is it soimposing, so vast, that it necessarily lacks the sense of quietrestfulness and intimacy of appeal of the smaller courts. It is in asense the Civic Center of the great Exposition model city, and as suchit offers many suggestions of wise planning-and one or two of poorplanning, as in the case of the obtrusive band-stand. 

The meaning of the court is to be found in the symbolism of the groupssurmounting the two triumphal arches-the Nations of the East meetingthe Nations of the West. With the opening of the Panama Canal thepeoples of the universe have met at last; West faces East on this shoreof the Pacific. The idea is finely expressed in the lines by WaltWhitman, inscribed on the west arch, in which the spirit of the Aryanrace, having traveled this far, is supposed to speak as she gazeswestward to Asia, "the house of maternity, " her original home:

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

Variations of this theme may be found in the murals under the arches, and in those under the Tower of Jewels near by. Other universal themesare treated in the Fountains of the Rising Sun and of the Setting Sun, and in The Elements at the edge of the sunken garden. The idea ofachievement, of victory in conquering the universe, is also suggested inthe triumphal arches. 

Architecture

The style of architecture is in general Roman; though, as is true almostthroughout the Exposition buildings, there is an admixture ofRenaissance motives. Even on the massive Roman arches there is a traceof Moorish lightness and color in the green lattices; and the domes ofthe corner pavilions are clearly Eastern in feeling. 

The East and West arches are, of course, reminiscent of the triumphalarches of the Roman Conquerors. A comparison with pictures of the famousArch of Constantine and the Arch of Titus at Rome, will show howthoroughly the architects have mastered the feeling of the classicexamples, while largely modifying the decorative features. To properlysee either of the arches in this court as a single unit, it is best tostand at the side of the sunken garden, near one of the figures of "TheElements, " where the fountain columns do not obstruct the view. 

The long colonnade, with its fine Corinthian columns and its surmountingrow of "Star-girls, " can best be appreciated when one stands facingnorth, with back to the Tower of Jewels-since the architecture of thatwas clearly conceived by another mind and built in a different spirit. It is from the two corner pavilions on the tower side, perhaps, that thebest general views of the court can be obtained. Unfortunately theattractive view down the straight colonnades of the north extension ofthe court is marred by a gaudy band pavilion, which is quite out ofkeeping with the pervading mood of simple dignity. The little cornerpavilions are worthy of study alone, as a graceful and unusual bit ofarchitectural design. 

The Court of the Universe was designed by McKim, Mead and White. 

Sculpture

The Court of the Universe has more than its share of the best sculptureof the Exposition. In this court more than anywhere else one can obtainan idea of the remarkable scope of the sculptured groups. It is a goodplace to linger in if one has heretofore had pessimistic doubts aboutthe ultimate flowering of the art of sculpture in America. 

The Fountain of the Rising Sun is at the east end of the sunken garden. Its tall shaft is surmounted by the figure of a youth typifying theRising Sun-a figure of irresistible appeal. The morning of day and themorning of life, the freshness of the dawn and the aspiration of youth--these things are remarkably suggested in the figure. With head up andwinged arms outstretched, the youth is poised on tiptoe, the weightthrown forward, as if just on the point of soaring. 

The Fountain of the Setting Sun is just opposite, at the west end of thesunken garden. The surmounting figure here, though officially called"The Setting Sun, " is more appropriately named "Descending Night"-thetitle the artist has given to the bronze replica in the Fine Artsgallery. The closing in of night-that is what is so perfectlysuggested in the relaxed body, the folding-in wings, and the remarkablesense of drooping that characterizes the whole statue. There is, too, anenveloping sense of purity and sweetness about the figure. 

These two statues which surmount the Fountains of the Rising Sun and theSetting Sun are among the most charming sculptures at the Exposition. They have not the strength of the figures of the Elements, or themassive nobility and repose of the Genius of Creation, or the purelymodern native appeal of the works of Stackpole and Young and Fraser. Butfor those of us who are sculpture lovers without asking why, they comecloser to our hearts and dwell more intimately in our minds than any ofthese. "Descending Night" especially has a sensuous charm of gracefulline, a maidenly loveliness, that appeals irresistibly. Both figures areby Adolph A. Weinman. 

Above the higher basin of each fountain the column drum is decoratedwith figures in relief. While the two friezes are meant to be decorativeprimarily, the artist has employed in each case a symbolism in keepingwith the crowning figure. The frieze in the Fountain of the Rising Sunrepresents "Day Triumphant. " The symbolic figures typify the awakeningof man's finer instincts and energies at the call of the morning, andthe shrinking of the vices when the darkness of night gives place to thelight of day. The relief-frieze of the "Fountain of the Setting Sun" isentitled "The Gentle Powers of Night. " It represents Descending Nightbringing with her the Stars, the Moon-goddess, Dreams, and similarbeautiful things. The lower basins of both fountains contain figures ofcentaurs (a new sea-variety, with fins) holding sea-monsters. 

Groups surmounting arches. The monumental groups surmounting the twotriumphal arches are "The Nations of the East, " on the Arch of theRising Sun, and "The Nations of the West, " on the Arch of the SettingSun. The symbolic idea behind the two compositions thus placed facingeach other, is that of the nations of the Eastern and WesternHemispheres at last meeting on this Pacific shore. 

The Nations of the East is made up of five mounted and four unmountedfigures, all typical of the Orient. Reading from the spectator's left toright, the mounted figures are: 1. An Arab tribal chief on a horse; 2. AMohammedan standard bearer on a camel; 3. The East Indian on hisrichly-caparisoned elephant; 4. Another Mohammedan standard-bearer on acamel; 5. A Mongolian horseman. Between the mounted figures are thefollowing on foot: 1. A servant with a basket of fruits; 2. An Arabfalconer; 3. A Thibetan lama or priest; 4. Another servant with fruit. 

The Nations of the West represents typical figures from the Europeannations which have helped to develop America, together with two AmericanIndians and an Alaskan. A central composition shows the Mother ofTomorrow and a surmounting group typifying the Spirit of Enterprisewhich has led the Aryan race to conquer the West. The figures, from leftto right, are: 1. The French-Canadian (sometimes called "The Trapper"), on horseback; 2. The Alaskan, carrying totem poles, on foot; 3. TheSpanish-American conqueror, mounted; 4. The German-American, on foot; 5. The Mother of Tomorrow, on the tongue of the ox-drawn prairie schooner;6. The Italian-American, on foot; 7. The English-American, mounted; 8. An Indian squaw; 9. The American Indian, mounted. On top of the prairieschooner the Spirit of Enterprise is represented by a spirited wingedfigure, with a boy at either hand. 

The way in which the two groups balance each other at the two ends ofthe court is worthy of study-the elephant of the one offset by theprairie schooner of the other. Indeed each feature of one is balanced inthe other so that the two will mass against the sky with the samegeneral decorative effect. "The Nations of the East, " considered as awhole, seems the more satisfying group-richer in feeling, more unifiedin design, and more massive; in short, more monumental and thereforebetter fitted to crown the noble arch. But if this fits its settingbetter, and masses against the sky more satisfyingly, "The Nations ofthe West" will be found on close examination to contain the betterindividual figures. The Alaskan (unfortunately almost lost to view inthe present placing of the group), the Canadian Trapper, and the mountedIndian are all worthy of prolonged study; and the figure of the Motherof Tomorrow is one of the finest bits of sculpture at the Exposition. Inthese figures, and only slightly less so in the other figures of thisand the opposite group, there is ample evidence that the Americansculptors have outgrown the traditions of by-gone "schools" and havedeveloped a genuine native medium of expression. The two groups are thework of A. Stirling Calder, Leo Lentelli, and Frederick G. R. Roth incollaboration. 

Figures at north and south of sunken garden. Flanking the stairways tothe sunken garden at north and south are four large figures by RobertAitken, typifying "The Elements. "

Air is at the west end of the south stairway, and is represented as ahuge winged female figure putting a star in her hair. Two birds, old-time symbols of the air, complete the suggestion. At the back a manhas tied himself to the wings of the figure typifying man's effort toput to his own use the wings of the air. 

Earth is placed at the east end of the south stairway. A huge femalefigure rests on conventionalized rocks, and a formalized tree partiallysupports her. At the back two small struggling figures are seen, typifying man's struggle with the forces of earth. 

Water is placed at the east end of the north stairway. The sea-god, withhis trident in one hand and sea-weed in the other, rides on a wave, witha dolphin beside him. 

Fire at the west end of the north stairway-is typified by the figureof a man in agony, with one hand grasping the flame, and with jaggedlightning in the other, symbolizing man's terror of fire as well as hisconquering of it. A salamander completes the main design, while at theback the phoenix, bird fabled to rise from fire, helps support thefigure. 

These four figures are of the sort of art that is likely to turn theunthinking person away, though a study of them will bring out newbeauties with riper acquaintance. Because people fail to get far enoughaway from them to obtain the proper perspective, the statues seem toohuge, too strong, too terrible, ever to be attractive. They are, it istrue, out of scale, and thus mar the effect of the court to a certainextent. But there is in them something of the noble and compellingstrength of the statues of Michael Angelo-to whom the sculptor clearlyowes his inspiration. Stand between the columns at the corner of theTransportation Palace, and you will see that the figure of Fire not onlyis imaginatively conceived but is a fine line composition as well. Studyof the other three from corresponding viewpoints will well repay inincreased understanding and pleasure. 

Figures at east and west of sunken gardens. Flanking the east and weststairways are two groups by Paul Manship. The one representing two girlsdancing or running is called sometimes "Festivity, " sometimes "Motion. "Here the artist has welded the figures into an ornamental design in away unparalleled in the work of other American sculptors. Note thefinely varied outline, the sense of rhythmic motion, and the richfeeling that every part is decorative. The opposite group is called"Music" or "Music and Poetry. " It lacks the flowing grace and somethingof the richness of feeling of the other, though it is more dignified. There is the same conventionalization in treatment, again charming. These groups are not for people who look for realism in art above allelse; but for those who care for the classic, who see in formalization ashort-cut to the expression of the spirit of a thing, there are few moreappealing groups in the grounds. The figures are repeated at the eastand west entrances to the garden. 

Minor Sculptures. The slender "Stars" along the top of the colonnade arethe work of A. Stirling Calder. When one remembers that this is theCourt of the Universe, they seem to fit in with the meaning of thewhole, and architecturally their symmetry of form fits them well forrepetition. The low relief friezes on the corner pavilions represent"The Signs of the Zodiac, " and are by Hermon A. MacNeil. A formalizedAtlas is represented in the center, and at each side are seven of hisdaughters, the Pleiades and the Hyades, whom the gods changed intostars. Twelve of the maidens have plaques bearing the symbols of theZodiac. The frieze is well composed and beautifully modeled, but therough Travertine does not do it justice. The minor sculptures on thetriumphal arches consist of a repeated winged angel with sworddown-turned, by Leo Lentelli; spirited spandrels over the arches, representing "Pegasus, " by Frederick G. R. Roth; and two well-adaptedmedallions by A. Stirling Calder and B. Bufano. All of these decorativefeatures are repeated on both sides of both arches. 

Mural Paintings

The four mural paintings of the Court of the Universe, two under each ofthe triumphal arches, represent the progress of civilization from theold world to the American far West. The two under the Arch of the RisingSun, at the east of the court, represent the nations that crossed theAtlantic and their ideals, while those under the western arch show themarch of the pioneers from New England to California. To obtain theproper sequence of thought the ones under the eastern arch should beexamined first. 

Murals in Arch of the Rising Sun. On the south wall of the arch is apanel representing the nations that have dared to cross the Atlantic tobring their civilization to America. The figure farthest to thespectator's right represents the spirit of adventure or "The Call toFortune. " Then follow representatives of the nations, in this order: 1. The half-savage of the lost Continent of Atlantis; 2. The Romanconqueror; 3. The Spanish explorer, typified by a figure resemblingColumbus; 4. The English explorer, resembling Raleigh; 5. A priest, typifying the bringing of European religion to America; 6. The artist, bringing the arts; and 7. The workman-immigrant of today. Then followsan allegorical veiled figure, with hand to ear, listening to the hopesand ideals of the men who are following the call to fortune. 

The opposite panel shows what the veiled figure has heard-depicts thehopes and ideals that have led men to cross the Atlantic. At the farleft are figures symbolizing True Hope and False Hope. Soap bubbles arebeing scattered by False Hope, and the third figure, typifyingAdventure, tries to pick them up. Then follow the true ideals and hopesin this order: 1. Commerce 2. Imaginative Inspiration; 3. Truth andBeauty (one figure); 4. Religion; 5. Wealth; and 6. Family joys (a womanwith babes). In this panel the background contains suggestions ofAsiatic and American cities. In the other panel the background shows agroup of ships, ranging from those of the earliest times to the modernliner. 

These two paintings are worthy of study for the historical and symbolicinterest. Artistically they are notable chiefly for the remarkablefreshness of coloring and rich mosaic effect. Both are by EdwardSimmons. 

Murals in Arch of the Setting Sun, at the west side of the court. Thepainting on the north wall should be viewed first. This representspioneers from a New England village starting for California. There arefour groups of figures, as follows: 1. Two workmen, and a woman holdinga child; 2. A symbolic figure of the Call to Fortune; 3. A group showingthe types of those who crossed the continent-the driver first, andthen the Preacher, the Pioneer, the Judge, and the Schoolmistress (thereare four children also in this group, and at the back is a wagon filledwith household goods); and 4. A youth bidding farewell to his parents ashe starts to join the band of emigrants. At the back of the last groupis seen a typical New England home, and in the distance a New Englandmeeting-house. 

"The Arrival on the Pacific Coast" is the title of the painting on theopposite wall, which represents the immigrants being welcomed as theyreach California. Here again there are four groups of figures. The firstshows two Spanish-American soldiers and their captain, following apriest, typical of the days of Spanish rule in California and of theMission period. Second, there is a symbolic figure, "The Spirit ofEnlightenment. " The third and main group shows types of immigrants. Themen here are: 1. The scientist; 2. The architect; 3. The writer; 4. Thesculptor; 5. The painter; 6. The agriculturist; and 7. The miner (orother manual worker). A woman and several children complete the group, and at the back is a prairie schooner, from which a girl waves a flag. The fourth group represents California welcoming the immigrants, thestate being symbolized by tokens of the wealth it has to offer settlers:the orange tree, sheaves of grain, and fruits-the figures includingthe miner, the farmer, fruit pickers, and the California bear. This lastgroup is the most colorful, and in many ways the most appealing, of allthose in the two panels under the west arch. It is interesting tocompare the golden warmth here and indeed throughout the Californiapanel-with the cold atmosphere of the New England one. 

Those who are familiar with the historical characters of the West willbe able to recognize in the California panel idealized portraits ofWilliam Keith as the painter, Bret Harte as the writer, and JuniperoSerra as the priest. In the New England panel may be found WilliamTaylor, famous street preacher of the early days in California, as thepreacher, and "Grizzly" Adams as the pioneer. 

Both murals under the Arch of the Setting Sun are by Frank VincentDumond. 

The Side Courts

The two small connecting courts, or aisles, at the east and west of theCourt of the Universe are known as the Florentine Court and the VenetianCourt respectively. Both are in Italian Renaissance architecture, andboth are remarkably rich in color. The patterns on the shafts of thecolumns, while doubtless adding to the feeling of richness, are a littletoo pronounced, tending to destroy that restfulness which is felt in theother Italian courts, the Court of Flowers and the Court of Palms. Inboth the Florentine Court and the Venetian Court the planting schemesharmonize unusually well with the architecture. 

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Size of the Court of the Universe

For the sake of those who find added interest in knowing on what scale awork of art is built, the following facts are added:

The area of the Court of the Universe is about seven acres. On its eastand west axis, from arch to arch, it is six hundred and fifty feet; onits north and south axis, from the Tower of Jewels to the Column ofProgress, it is nearly twelve hundred feet. 

The Arches of the Rising Sun and the Setting Sun have a total height, tothe top of the surmounting sculpture, of two hundred and three feet. 

The Tower of Jewels is 433 feet in height, while the main archwaybeneath is 110 feet high. 

Court of the Four Seasons

The Court of the Four Seasons, unlike the other main courts, does notimmediately call forth one's exclamations of surprise and delight. It isnot so compellingly beautiful as either of the others. Nevertheless ithas a distinctive charm of its own-a reposeful atmosphere and asimplicity of form that become more and more appealing with riperacquaintance. It is a good place to come to when one is satiated withthe beauties of the other courts, for restfulness is the keynote. Thesimple massive style of the architecture and the simple planting schemecombine to produce a spirit of calm. The ideas of energy, achievement, progress, effort-so insistently emphasized elsewhere-are leftbehind, and everything breathes a sense of peace and orderliness, ofthings happening all in good season. 

The primary idea underlying the decorative features of the court issufficiently indicated in the name, "The Four Seasons;" and this idea issymbolically expressed in the sculpture and mural paintings in the fourcorners of the colonnade. But a study of the other decorations showsthat the idea of abundance, or fruitfulness, was equally in the minds ofarchitect and sculptors. The purely architectural ornaments, such as thecapitals and the running borders, employ the symbols of agriculture andfruitfulness, while no less than five of the main sculptural groups orfigures deal directly with harvest themes. 

Architecture

The style of architecture is in general Roman. The half-dome and thecolonnades are almost severely classic. The column capitals are Ionic. But in the freedom of some of the architectural forms, particularly inthe archways at east and west, there is a suggestion of Renaissanceinfluence. The plan with its four cut-corners with fountains, and itshalf-dome facing down the long colonnade to the bay, is ingenious. Thehalf-dome itself, dominating feature of the court, is exceptionallydignified and impressive. To obtain the best view of it as a singleunit, one should stand between two columns of the colonnade near eitherthe Fountain of Summer or the Fountain of Autumn-as from these pointsthe eye is not carried through the doorway at the back of the dome, tothe detriment of a unified impression. 

Henry Bacon is the architect who designed the Court of the Four Seasons. 

Sculpture

Bulls on pylons. The finest sculpture here is to be found in the groupscapping the pylons at the entrance to the minor north court. Thoughcalled by the artist "The Feast of Sacrifice, " these are commonly knownas "The Bulls. " The group, which is duplicated, shows a bull being ledto sacrifice by a youth and a maid, and is reminiscent of theharvest-time celebrations of ancient peoples. But it is just as well toforget the subject, and to admire purely for the sensuous charm-forthe beauty of outline, the fine modeling, and the remarkable sense ofspirited action. Note the three figures individually: the nobly animatedbull, the magnificently set-up youth, and the strong yet gracefulmaiden; then note how the sacrificial garland holds the whole grouptogether and makes it richer. Note, too, how the forward-moving lines ofthe bull are accentuated on one side by the similar lines of the youth'sbody, and on the other by the contrasting lines of the girl's. Puttingaside any question of meaning, there is not in any of the courts anobler bit of decorative work than this. Albert Jaegers was thesculptor. 

Figures surmounting columns. On the two columns before the half-dome areAlbert Jaegers' figures of "Rain" and "Sunshine. " At the right, as onefaces the dome, Rain is typified by a woman shielding her head with hermantle and holding out a shell to catch the water. At the left Sunshineis represented by a woman shielding her head from the sun's rays with apalm-branch. Both figures are characterized by a sense of richness, offullness, that is perfectly in keeping with the spirit of the court. Incommenting on these statues, in one of his lectures on the art of theExposition, Eugen Neuhaus, the well-known California painter, suggestedvery appropriately that the court should have been named for them "TheCourt of the Two Seasons" since in California the only noticeableseasonal change is from a sunny period to a rainy period. 

Group surmounting half-dome. This shows a conventional seated figure ofHarvest, with an overflowing cornucopia. At one side a child-figure bowsunder a load of fruit. This group also is by Albert Jaegers. Here, as in"Rain" and "Sunshine, " there is a sense of fruitfulness, of profuseness, a maternal suggestion that helps to carry out the symbolism of thecourt. In all three of these statues, too, there is something of thenobility and massiveness that distinguish the same artist's "bull"groups across the court. All are eminently suited to the massive Romanarchitecture; nowhere else have sculptor and architect worked togethermore successfully. 

Fountains of the Seasons. In the niches formed at the corners of thecourt by the diagonal colonnades are novel fountains, surmounted bygroups representing the four seasons. It is well to go first to thesouthwest corner, to the "Fountain of Spring"; then to the northwestcorner, for "Summer"; and so on around the court. If one is ever puzzledto understand from the figures which season is represented, a glance atthe labeled murals up above in the corridor will give the proper titlefor statue and murals of each season are grouped together. 

Spring. A young woman draws a floral garland over her head, while at herright a love-lorn youth turns a pleading face to her, and at her left agirl brings armfuls of flowers. 

Summer. To a man a woman holds up a babe, symbol of the summer of humanlife, while at one side a crouching figure holds a sheaf of full-headedgrain. 

Autumn. The central figure is a woman of generous build with a jar onher shoulder-quite the usual personification of Autumn orfruitfulness. At one side a young woman holds a garland of grapes, andat the other is a girl with a babe. This last figure is perhaps the mostgraceful in all the four groups, though the same sort of lovelinessdistinguishes to a certain extent the two flower-girls of "Spring. "Altogether, this "Autumn" fountain is probably the finest of the four. 

Winter. The central figure is Nature, in the nakedness of winter, resting after the harvests of autumn and waiting for the birth ofspring. At one side a man with a spade rests, while on the other a manwith a seed-bag is already beginning to sow. Although all the figures of"The Fountains of the Seasons" are nude, there is about this group asense of cold nakedness that well accords with the season it portrays. 

These four groups are very properly alike in composition andfeeling-suggesting perhaps that the differences between the seasons inCalifornia are but slight. There is throughout a conventional touch, andall are in pastoral mood. The groups are by Furio Piccirilli. 

The Fountain of Ceres is in the north extension of the court, betweenthe Palace of Food Products and the Palace of Agriculture. Thesurmounting figure is of Ceres, Greek goddess of the fields andespecially of corn. The bas-relief frieze represents a group of dancers, suggestive of the seasonal festivals of the Greeks. The main figure hasbeen much criticized, but an unbiased critic may find much in thefountain to praise. The pedestal and the crowning figure are wellthought out, and the proportions of the whole are good; and there is afeeling of classic simplicity throughout. The frieze of dancing girls, too, is exceptionally graceful. If, then, one discovers that Ceres ismore mature than a goddess ever ought to be, or that her face suggeststhat of an exasperated school-teacher, or if one finds the cornstalk inher hand a realistic thing incompatible with any poetic conception, itis well to step back until one gets only the general effect. For thereis much to admire in the poise of the figure, in the decorative outline, and in the sculptor's lightness of touch. The fountain was designed byEvelyn Beatrice Longman. 

Minor Sculptures. On the archways at east and west of the court ahigh-relief figure by August Jaegers is repeated eight times, and thespandrels over the arches are by the same artist. In both cases the ideaof abundance or fruitfulness again supplies the motive. The boxes at thebases of the columns on which "Rain" and "Sunshine" stand are decoratedwith agricultural scenes in low relief. The capitals at the tops ofthese columns are enriched with groups of agricultural figures. Withinthe archways at east and west the ceilings are decorated with delicatebas-relief designs, patterned after the famous ones at Villa Maderna, Rome. 

Mural Paintings

All the murals in the Court of the Four Seasons are by H. MiltonBancroft. In general they are less interesting than those of any othercourt. 

The Seasons. In the four corners of the colonnade there are eightpanels, grouped by twos as follows: Spring and Seed Time; Summer andFruition; Autumn and Harvest; and Winter and Festivity. There is littleto hold the attention either in richness of color or in unusual grace ofcomposition. Moreover, the artist has left nothing to the imagination inthe symbolism by which he expresses the several ideas. The devices areso hackneyed, and the meaning so obvious, that any sort ofinterpretation would be entirely superfluous. 

Panels under half-dome. On the east wall under the dome is the panel ArtCrowned by Time. Father Time crowns Art, while on one side stand figuresrepresenting Weaving, Jewelry, and Glasswork, and on the other Printing, Pottery, and Smithery. On the opposite wall is the panel Man ReceivingInstruction in Nature's Laws. A woman holds before a babe a tabletinscribed "Laws of Nature, " while on one side are figures of Fire, Earthand Water, and on the other figures of Death, Love, and Life. These twolarger panels are more pleasing than the eight representing the Seasons, both in coloring and in figure composition; and they make pleasing spotsof bright color in the dome. But again the artist is tediously carefulto make his meanings plain. Not only does each figure hold its obvioussymbol prominently in view, but there are labels naming the figures. Tothe art student the painter's stipple-and-line method, producingvibration of light and a certain freshness of atmosphere, will be ofinterest, as being out of the usual run of mural technique. 

Before leaving the Court of the Four Seasons one should stand under thecentral arch of the triple portal at the east, and look first to theeast through the Arch of the Setting Sun to the group "Nations of theEast;" and then to the west along the vista that ends with the kneelingfigure before the Fine Arts temple. The arrangement of architectural andsculptural units in both vistas is worthy of study. 

The Court of Palms and the Court of Flowers

In these two courts, which pierce the walled city on the south, oppositethe Palace of Horticulture and opposite Festival Hall, is to be foundthe purest expression of that spirit of the Italian Renaissance whichhovers over so much of the Exposition architecture. Here, too, one findsJules Guerin's color scheme at its richest. Both courts necessarily lackthe cloistral charm of the Court of Abundance, since they have thefourth sides open. But what they lack in the sense of enclosure theymake up in sunniness and joyous color. They are restful and warm andquiet-and artistically they are among the most perfect and mostharmonious units on the grounds. 

The Court of Palms

The Court of Palms is directly opposite the Palace of Horticulture, between the Education and Liberal Arts Palaces, and adjoins the Court ofthe Four Seasons. The charming sunken garden and simple pool reflect thecolored colonnade, arches and towers with a sense of rest that is arelief and stimulant after walking miles of exhibit halls. Althoughreally nearly two acres in area, the court seems small and intimate. Theproportions are good, and the planting particularly fortunate. 

The architecture is Renaissance, and is suggestive of the interiorcourts of the palaces of the Italian nobles. The colonnade columns areIonic. The high attic story or frieze above the colonnade is remarkablyrich, with its orange brown panels garlanded with green and red fruits, and decorated with Caryatid pilasters. It is worthy of study for the wayin which architect, sculptor and color director have co-operated. TheItalian Towers, terminating the colonnades, are among the finest bits ofarchitectural design in the whole building group. Though only a fractionof the height of the Tower of Jewels, they convey much better theimpression of reaching high into the heavens, of aspiration and uplift. They are more satisfying, too, in their combination of architecturalforms, and they carry out notably well the delicate but luxuriant colorscheme of the court. The unusual repeated pattern which fills the largewall panels of the towers is worthy of attention. 

The architect of the court was George W. Kelham. 

Sculpture. The only really important statue in the court is that whichstands at the opening on the Avenue of Palms-called The End of theTrail. An Indian, bowed at last under the storm, sits astride a dejectedhorse utter weariness, discouragement, lost hope, expressed in everyline of man and animal. Some see in the statue only the abject despairof a horse and rider when the consciousness finally comes that the trailis definitely lost in the wilderness; and it is notable enough as anexpression of this tragic theme. But others, remembering the history ofthe Indian, see here an eloquent and pathetic reminder of a race thathas seemingly come to the end of its trail. As a portrayal of thisracial tragedy the group is even more remarkable than as an expressionof the hopelessness of a lost man and horse. 

The statue is hardly in key with its architectural surroundings; but itscomparatively isolated position prevents it from seeming an intrusiveelement in the court. Considered alone it is more individual, moreexpressive of independent and deep moving thought, than any othersculpture in the grounds. There is far more of real earnestness herethan is usual in exposition sculpture. The thing is significant, too, for the native note. It is worthy of serious study as indicating one ofthe most important tendencies of American sculpture when not tied to thepurely decorative. The sculptor was James Earl Fraser. 

The minor sculptures in this court consist of the Caryatides by JohnBateman and A. Stirling Calder; the spandrels, by Albert Weinert; "TheFairy, " by Carl Gruppe, which crowns the Italian Towers; and the classicvases at the portals. 

The mural paintings in this court are disappointing. Two aresurprisingly poor, considering the high reputation of the artists, andthe third is badly placed. The tympanum in the portal at the east sideof the court is filled by Charles W. Holloway's panel, The Pursuit ofPleasure. This is a conventional treatment of the subject, in which anumber of youths and maidens turn lackadaisically to a winged figure ofPleasure. There is a pleasing lightness of touch, and the bright redsand blues are in keeping with the spirit of the court-but the thingis, somehow, insipid. This panel is more pleasing under illumination. Inthe opposite portal is Childe Hassam's painting, Fruits and Flowers. This again is a conventional treatment, showing very obviously vegetableand human fruits and flowers. The arrangement is tediously symmetric, the coloring is rather weak, and there is a wooden stiffness about thefigures. The panel makes a pleasant spot of color, but is by no means upto the standard of the canvases in Hassam's room in the Palace of FineArts. 

The panel over the main doorway, at the north end of the court, is byArthur F. Mathews, and is far superior to the other two, thoughunfortunately placed in a dark spot. It is called by the artist AVictorious Spirit. The central figure, gorgeously suggesting the Spiritof Enlightment, protects Youth from the discordant elements of life frommaterialism and brute force, as represented by the rearing horse andmilitant rider. Youth is attended by the peace-bringing elements oflife, by Religion, Philosophy or Education, and the Arts. The symbolismhere is sound, the composition and drawing unusually good, and thecoloring quite wonderful-especially in the orange-yellow robe of theSpirit. The full deep colors are in sharp contrast with those of most ofthe Exposition murals. 

No one should leave this court without first pausing to enjoy the vistathrough the north doorway, showing Albert Jaeger's spirited SacrificialBulls on the Agriculture and Food Products Palaces, the long colonnadeof the Court of the Four Seasons, and the bit of bay and hills beyond. 

The Court of Flowers

The Court of Flowers is opposite to Festival Hall, between the Mines andVaried Industries Palaces. The first impression, as one comes to it, isthat here is a replica of the colorful Court of Palms. But manydifferences become evident after a few moments' study. 

The architecture is Italian Renaissance, but of a more richly decorativesort than in the Court of Palms. There is more overlaid ornament, and onthe whole, less simplicity and quietness and more varied interest. Thecolumns here are Corinthian, arranged in pairs. The gallery above thecolonnade adds to the suggestion of the sunny South. The Italian Towers, while similar in feeling to those of the other court, are different inthe arrangement of elements, though equally successful. The colordecoration is again notable. 

It is hardly necessary to add that George W. Kelham designed this courttoo. 

Sculpture. The center of the court is dominated by Edgar Walter's Beautyand the Beast Fountain. The surmounting statue is a curious combinationof graceful lines and grotesque effects. The strange Beast is no lessfantastic than the young lady herself-she who has adorned her fairbody with nothing more than a Spring hat and a pair of sandals. It isprobably this near-nudeness, without pure nakedness, that creates thejarring note of the group Certainly there is a bizarre touch thatsomewhat offsets the sinuous charm of the figure. Under the upper basinare four piping Pans, not notable individually, but adding to thedecorative effect. The wall around the lower pool carries a playfulfrieze of animals in low relief. 

The Pioneer is the title of the equestrian statue at the south end ofthe court, on the Avenue of Palms. The man is typically the Westernpioneer, as every resident of the Pacific Coast has known him-apatriarchal figure who foreran civilization here in the West of Americaas he has in all other new lands. Head up, axe and gun in hand, lookingstraight forward, he is a fine visualization of the "Forty-niner. " Heis, too, an interesting racial contrast to the Indian of "The End of theTrail. " One wonders, however, about the horse, with the elaboratetrappings that clearly belong to another era-to the days of Spanishconquest, perhaps. Certainly horse and rider do not seem to be conceivedin the same spirit. The group lacks, too, that vital intensity offeeling and that emotional strength which distinguish "The End of theTrail, " the companion-statue in the Court of Palms. The "Pioneer" is bySolon Borglum. 

The minor sculpture here consists of A. Stirling Calder's attractive"Flower Girl, " repeated in the niches along the loggia; dignified Lions, by Albert Laessle, flanking the three portals; and again Carl Gruppe's"The Fairy, " atop the Italian Towers. 

The Tower of Jewels, and the Fountain of Energy

It was planned that the Tower of Jewels should be the great dominatingfeature of the architectural scheme of the Exposition; that this unitmore than any other should stand as a triumphal monument to celebratethe opening of the Panama Canal. The mural paintings, the sculpture andthe inscriptions all carry out this idea, but the tower, in itsarchitectural aspect alone, fails to live up fully to its purpose. Itserves well to "center" the whole scheme, and to afford an imposing pileat the main entrance. Nevertheless it falls short of the higharchitectural standard of the courts and palaces. 

Architecture

The architectural forms used in the design of the tower are in generalclassic; but the architect has shown considerable originality in theirarrangement and massing. 

The lower portion, embracing the imposing arch and flanking colonnades, is very dignified and quite satisfying. Standing close to the structure, on the south side, so that one is conscious chiefly of this lowerportion, there comes the proper sense of nobility-the feeling that oneobtains from a successful triumphal arch. The chief fault of the towerabove is that it lacks the long lifting lines that would give a sense ofaspiration. It seems just a little squat and fat-as if it were tooheavy on top and splayed out at the sides and bottom. It is alsosomewhat "showy, " with too much hung-on ornament; and the green columnsagainst red walls are not satisfying-this being one of the very fewfailures of the color scheme in the entire group of buildings. 

At night the tower takes on a new and unexpected beauty. The outlinesoftens under the illumination, and the feeling of over-decoration andbroken lines is lost. The whole structure becomes a huge finger oflight, reaching up into the dark heavens-with softer indirect lightingbelow, and glowing brilliantly above. Even the hundred thousand pendentjewels, which at best are but flashy in the day time, add to theexquisite fairy like effect at night. The illumination here is such, indeed, that it must be one of the most impressive and lasting memoriesto be carried away by the visitor. 

The Tower of Jewels was designed by Thomas Hastings, of the firm Carrereand Hastings of New York. 

Sculpture

The sculpture, like the mural paintings, deals in general with thewinning of the Americas and the achievement of the canal project. 

Sculpture on the tower. As one stands in the South Gardens facing thetower, one sees above the first cornice, reading from left to right, four statues of The Adventurer, The Priest, The Philosopher, and TheSoldier. These finely realized figures, which are by John Flanagan, represent four types of the early conquerors of America. On the nextstory is a repeated equestrian statue of the Spanish Conqueror, calledThe Armored Horseman, by F. M. L. Tonetti. These five statues arerepeated on the other three faces of the tower. There is much othersculpture of a purely decorative sort, the motives used being thoseusually found in triumphal monuments, such as eagles, wreaths, and thebeaks of ships with which the Romans ornamented the columns celebratingtheir naval successes. 

Equestrian statues at entrance. In front of the two side colonnades arespirited equestrian statues. As one faces the tower, the figure at theleft is of Pizarro, who conquered the richest portion of South Americafor Spain. This figure is heroically decorative, and is by Charles CareyRumsey. At the other side of the main arch is Charles Niehaus' vigorousstatue of Cortez, who won Mexico for Spain. This figure, carrying a flagand pennon on a lance, and perfectly seated on the strong horse, has alive sense of movement, and the whole group is informed with the spiritof the lordly conqueror. 

Fountains under the tower. Within the colonnades to east and west of themain archway are respectively the Fountain of Youth and the Fountain ofEl Dorado. 

The Fountain of Youth consists of a central figure on a pedestal, andtwo rounded side panels with figures in relief. Youth is symbolized as agirl, an immature figure, beautifully modeled. She stands, perfectlypoised, among rising blossoms. On the pedestal are more flowers inrelief, and two dimly indicated half-figures of a man and woman may bediscovered. The side panels show old people being drawn away in shipsmanned by cherubs-old people who gaze back wistfully at the Youth theyare leaving. Really the fountain is far more charming if one forgets allbut the central figure. There is in that a sweet tenderness, a maidenlyloveliness, that makes it the perfect embodiment of Youth-anembodiment to be remembered with delight again and again. 

The fountain was designed by Edith Woodman Burroughs. 

The Fountain of El Dorado is on the other side of the archway, and is byGertrude Vanderbilt Whitney. It represents, as a whole, mankind'spursuit of the unattainable. The legend of El Dorado is that there oncelived in South America a prince, "The Gilded One, " who had so much goldthat daily he had his body covered with gold dust. Many Spanishexplorers spent fruitless years in search of the fabulously rich countryof this prince. The idea of the fountain is that the Gilded One, representing the unattainable, the advantages of wealth and power whichdeluded men and women seek without value given to the world in return, has just disappeared through the gateway, the gates closing after him. On either side processions of seekers who have glimpsed the Gilded One, strain toward the gateway. Some loiter in love or play, some drop fromfatigue, some fight their way along; and the first two, finding that thepursuit is fruitless after all, have dropped to their knees in anguish. The two standing figures beside the gates are said by the sculptor tohave no significance beyond the fact that they are "just guardians. "

The fountain is notable for its symbolism and for the modeling of themany nude figures. The panel on the right is especially decorative, andhas some notably fine individual figures and groups. The spirit of thefountain, with its realism and its note of hopelessness, is not inkeeping with that pervading most of the Exposition sculpture. Afterlooking at the work for a time, turn and look back through the twoarchways at the central figure of Youth at the other side. Certainly nofigure in the Fountain of El Dorado has the appeal and charm of that. 

Mural Paintings

On the walls of the archway under the Tower of Jewels are eightpaintings celebrating the building of the Canal. All are by William deLeftwich Dodge. 

On the west wall the first panel is called Discovery. It portrays thediscovery of the Pacific Ocean by Balboa. 

The second panel is called Atlantic and Pacific. A huge figure of Labor, having brought together the oceans, is opening a waterway from West toEast. On the left an ox-drawn prairie schooner has arrived at the shore, with types of Western civilization. On the opposite shore types of thenations of the East, in a colorful group, are straining forward to meetthe West. 

The third panel is entitled The Purchase. A figure representing theUnited States is taking over the canal project from France. The Frenchlaborers are throwing down their tools, and Americans press forward totake them up. 

In the group on the opposite wall the first panel is called LaborCrowned. Victorious Labor is being crowned by the angel of Success, while soldier and workers come to pay homage. 

The second panel is entitled The Gateway of All Nations. Figuressymbolizing Progress call the world to pass through the Canal. Neptuneholds garlands by which he draws ships of the various nations toward thewaterway. Two laborers rest on their machines and watch the processionwhich they have made possible. 

The last panel is called Achievement. A woman with the symbols ofknowledge, or wisdom, sits enthroned, while about her are groupedfigures representing the forces instrumental in building the Canal. Atthe left are laborers; at the right figures typifying Engineering, Medical Science (with the Caduceus, the wand of Mercury, god ofmedicine), and Commerce or Munificence. 

These mural paintings are among the most interesting and mostimaginative of all those at the Exposition. Some of the groups areparticularly fine in coloring. Note the method of obtaining the righteffect of "flatness" by employing a conventional diaper pattern for thebackground throughout. The panels here are much more effective underfull illumination at night than by daylight. 

The Fountain of Energy

The Fountain of Energy in the South Gardens was designed to be thecrowning feature of the sculpture of the Exposition, just as the Towerof Jewels was designed to dominate the architectural scheme; and itfails of its high purpose in much the same way. It is closely alliedwith the tower in symbolic meaning, celebrating man's victory over theforces of nature in the successful building of the canal. 

In the pool at the base of the fountain are a number of graceful groupsof water sprites on dolphins, and four larger groups representing thefour great seas. The one to the east of the main fountain represents TheAtlantic Ocean as a woman with sea-horses in one hand and coral likehair, on the back of a conventionalized dolphin. At the north The NorthSea is represented by a sort of sea-man, with occasional fins and with athree-pronged spear in hand, riding on a walrus. At the west The PacificOcean is typified by a woman on a remarkable sea monster. And on thesouth a sea-man with negro-like features, and with an octopus in onehand, rides on a sea-elephant, representing The South Seas. 

The main pedestal of the statue is a globe, representing the earth. Thisis supported by a series of figures of mermaids and mermen. The Easternand Western Hemispheres are represented by figures reclining on theglobe, the one to the east a cat-headed woman, the one to the west abullheaded man. The band, decorated with aquatic figures, whichencircles the globe, suggests the final completion of a waterway aboutthe earth. 

Energy, the Victor, the surmounting group, typifies the indomitablespirit that has achieved the building of the Canal. The nude figure ofEnergy with arms outstretched rides a horse through the waves, while onhis shoulders stand smaller figures of Valor (with a wreath) and Fame(with a sword) heralding the triumph. These small figures areunfortunate they hardly belong, and instinctively one is worried fortheir equilibrium. 

The whole fountain is instinct with energy, and expresses joyousachievement, as was meant. Moreover it is remarkable in its breadth ofconception, in imaginative interpretation of the theme. But it lacksthat sense of repose which would make it intimately satisfying. 

The fountain was designed by A. Stirling Calder. 

Palaces Facing the Avenue of Palms

The adoption of the "walled-city" plan for the Exposition meant thegrouping of the more imposing architectural effects in the interiorcourts, the outer facades simply forming parts of a practicallycontinuous wall about the whole. Inspired by Spanish architecture of theRenaissance, the intention was to keep the wall spaces in general quitebare, concentrating the decorative effects in rich "spots" at carefullychosen intervals. Thus the outer facades of the central group of palacescombine a simple general form with a series of richly ornamentalportals. The architect who as entrusted with the designing of the walland all the portals was W. B. Faville of Bliss and Faville. 

Certain architectural and sculptural units are repeated throughout thecentral group. Each building has a low central dome, seldom seen whenone is close to any of the main buildings, but adding greatly to thedecorative effect from a slight distance. These domes are of Byzantinestyle, and are colored in harmonizing shades of green and pink. Thesmall repeated corner domes add another Eastern touch, and areespecially effective at night. The outer wall is edged all the wayaround with a simple cornice and a few rows of dull red tiles, distinctly Southern in feeling, and therefore harmonizing with both theSpanish and the Italian Renaissance doorways. 

The Winged Victory is the fine decorative figure that crowns the gablesof all the palaces of the walled-city. It is broadly modelled, massiveand yet refined, and from any viewpoint stands out in beautifulsilhouette against the sky. It is by Louis Ulrich. 

Palace of Varied Industries

Before turning to the more important south facade, it is well to look atthe east wall, with its dignified and colorful portal. This is Roman instyle of architecture, to harmonize with the Palace of Machineryopposite. It is similar in general form to the memorial arches andgateways of the Romans, but in the use of architectural motives and indecoration it is of Italian Renaissance style. The niches at each end ofthe gallery contain figures of The Miner, by Albert Weinert. The facadeis ornamented with buttresses at regular intervals, carrying figures ofthe California Bear holding a scutcheon with the state seal. 

Returning to the Avenue of Palms and the south facade, one sees the mostimportant artistic feature of the building, the central portal. This isa copy, except for the figures filling the niches, of the famous doorwayof the Hospital of Santa Cruz at Toledo, Spain. It is in SpanishRenaissance style, of that especially rich type known as "Plateresque, "due to its likeness to the work of the silversmiths of the time. For itsgrace of composition, its exquisite detail, its total effect of richnessand depth, this portal is worthy of long study. 

The sculpture of the portal is all by Ralph Stackpole. In the lowerniches are replicas of "The Man with a Pick, " a figure that has beenjustly admired as a sincere portrayal of a simple laboring type. Therelief panel in the tympanum represents various types of industry. Fromleft to right the figures typify Spinning, Building, and Agriculture (orthe clothing, sheltering and feeding of mankind), and Manual Labor, andCommerce. The group in the niche above the arch shows a young laborertaking the load from the shoulders of an old man. The single figure atthe top of the arch shows the laborer thinking, and is called "Power. "Note how all these sculptures, while having individual interest, fitunobtrusively into the lace-like portal. 

Palace of Manufactures

The wall of this building is broken by pilasters and inset decorativepanels, and by a series of niches with animal head fountains. Thecentral portal is pure Renaissance architecture, again suggestive of theRoman gateway in form. 

The sculptures of the doorway, including the two figures of male andfemale labor in the niches, and the long high-relief panel, are byMahonri Young, who is noted for his simple, powerful treatment of modernthemes. The panel represents various branches of manufacture, includingmetal work, blacksmithing, pottery-making, spinning, and architecturalsculpture. 

Palace of Liberal Arts

The facade here exactly duplicates that just described, even to theniche figures and panel in the portal. 

Palace of Education

The Palace of Education has three Renaissance portals on the southfacade. These are more Spanish in feeling than those of the two palacesjust passed. The tympanum panel of the central doorway may be taken torepresent kindergarten teaching, instruction of boys and girls, andself-education in young manhood. It is by Gustave Gerlach. The twopanels in the walls over the minor doorways treat very obviously ofeducational subjects. They are flat in more senses than one, lacking thelife of the central tympanum group. They are by students of two Americanart schools. 

The west facade of the Palace of Education is dominated by an immensehalf-dome, impressive in size and attractively decorated. The style ofarchitecture here is mainly Roman, to harmonize with the Fine ArtsPalace which it faces across the lagoon. There are two splendidarchitectural fountains, under the half-dome here and under, that of thePalace of Food Products. 

Sculpture. Flanking the great arch are columns carrying the nude figureof a man, with hands crossed, gazing fixedly in thought. In the officiallist this is called "Philosophy" or "Thought, " and from it the immenseportal is called "The Half-dome of Philosophy. " But the same figureoccupies the corresponding position before the Food Products Palace, andis there called "Physical Vigor. " The truth is that the artist designedthe statue to suggest that finest of all unions of strength, thephysically powerful man thinking. Thus the figure is appropriate to botha food products building and an education building. The figure isstrong, but is not so convincing or appealing as the same artist's "Manwith a Pick, " in the Varied Industries portal. Within the half-dome is arepeated figure with a scroll inscribed "Libris, " by Albert Weinert. 

The six niches in the west wall have two repeated statues by Charles R. Harley, known as "The Triumph of the Field" and "Abundance. " They aresimply repeated from the Food Products Palace to the north, where theyproperly belong, and will be treated in the next chapter in connectionwith that building. 

On the north facade of the Palace of Education are duplicates of thethree south portals, with the same sculptured panels. 

Palaces Facing the Marina, and the Column of Progress

The walled-city idea, which throws most of the fine architecture intointerior courts, is even more severely carried out in the north facadesthan in the south. The palaces on the Marina, indeed, present a wallunbroken except by the central doorways and the slight cornerprojections. The small domes at the corners give a Moorish touch, reminiscent of Southern Spain, and the portals are direct adaptationsfrom Spanish masterpieces. 

Palace of Mines

The north facade of the Palace of Mines is free from all ornament exceptthe richly decorative central portal. This is worthy of prolonged study, being one of the finest bits of architectural ornament at theExposition. It is designed very closely after Spanish models, and is ofthat transitional period of Spanish architecture that came between theGothic and the Renaissance, when Gothic had been enriched through theinfluence of Moorish art, and was just beginning to feel the impulse ofthe Italian Renaissance. Note how rich is every part of the detail; thennote how all detail is subordinated to the mass effect of the whole. 

The statues in the niches of the portal are by Allen Newman. The centralmantled figure is called the "Conquistador, " or conqueror. The artisthas here portrayed in spirited fashion a fine type of Spanish nobility. The figure in the side niches, with an old-style pistol in his belt anda rope in his hand, is "The Pirate. "

The east facade of the Palace of Mines duplicates that of the VariedIndustries Palace, and the west facade forms one side of the north Courtof Abundance. 

Palace of Transportation

Here the one notably artistic feature is the central portal on the northside, which is an exact replica of the Spanish doorway of the Palace ofMines. 

The Column of Progress

This monument symbolizes the energy, the unconquerable spirit that isforever pressing forward to overcome new obstacles, which has led to thebuilding of the Canal. The idea of such a monument was conceived by A. Stirling Calder, the architectural design is from the hand of W. SymmesRichardson, the reliefs at the base are by Isidore Konti, and thecrowning statue is by Hermon A. MacNeil. The Column of Progress as awhole is among the finest artistic achievements of the Exposition, andmore than any other, perhaps, is worthy of perpetuation in permanentmaterials to commemorate for all time the opening of the Panama Canaland the holding of the Exposition. 

Reliefs at base. The high relief frieze on the square base of the columnrepresents mankind heeding the call to achievement. On the south faceare allegoric figures calling mankind to the struggle, the two womenholding palm branches, the insignia of victory. On the other three facesare shown groups of figures striving forward at the call, pressing on toachievement, some joyously, some laboriously, some stopped altogether inthought. The whole frieze suggests the beginning of progress. 

In the spiral that winds about the column certain interpreters havefound a symbol of the upward march of human achievement; but as thisspiral decoration is found on the Column of Trajan and the Column ofMarcus Aurelius, the Roman prototypes of the Column of Progress, thereprobably is no special significance in its use here. 

Supporting the crowning group is a drum with crouching figures oftoilers in relief, entitled "The Burden Bearers. "

The Adventurous Bowman is the title of the surmounting statue. Theheroic Bowman, facing the skies and the seas, and launching his arrowinto the unknown, is the symbol of the impulse that leads men to dareall to achieve victory. At the left of the central figure is a man ofsmaller stature, leaning against the Bowman to give him support. On theother side a woman crouches, looking up as the arrow speeds on its way. The ring-like object in the woman's hand, which is so hard to identifywhen one views the group from the ground, is a wreath. 

There is about the Bowman a remarkable sense of movement, of energy, ofpressing forward, no matter what the view point of the spectator. Themonument should be seen from as far north as possible, near the cornerof the California building, perhaps. From here, from the Esplanade asone approaches from either east or west, and from the Court of theUniverse at the rear, the group has the same inspirational quality, thesame sense of joyous effort, of courageous striving toward achievement. The placing of the monument where it closes three important vistas iscommended for study to those who have in charge the artistic destiniesof our cities. 

Palace of Agriculture

The north facade of the Palace of Agriculture is bare except for thecentral portal, which again duplicates that of the Palace of Mines. 

Palace of Food Products

The north facade of this palace duplicates that of the Palace ofAgriculture. But when one turns the west corner into AdministrationAvenue, one finds an entirely different atmosphere, where the Spanisharchitecture has given way to Italian. The dominating feature of thebuilding's west facade is an immense half-dome, officially called "TheHalf-dome of Physical Vigor. " This is an exact replica of the "Half-domeof Philosophy" on the Education Palace. 

Sculpture. Before the half-dome here, on columns, are replicas of RalphStackpole's statue of the physically vigorous man in thought. Inside thehalf-dome is a repeated figure of a man with a wreath, by Earl Cummings. 

In the niches along the walls are two alternating compositions, "Abundance" and "The Triumph of the Field, " by Charles R. Harley. Abundance is typified by a seated woman, with the conventionaloverflowing cornucopias beside her, as well as a conglomeration ofdetails suggestive of the riches of land and sea. This group certainlybelongs to the Food Products building, but it really ought to be inside, with the flowers made of butter and the tower of raisins. The Triumph ofthe Field shows a man seated, and around him a museum of ancient symbolsof agriculture, and of agricultural triumph, such as were once carriedin the annual harvest festivals. These two groups are among the mostamusing things at the Exposition; but artistically they can hardly besaid to count at all. 

The Palace of Machinery

The Palace of Machinery, largest of all the structures at theExposition, terminates the main building axis at the East. It ismonumental in proportions, and is well suited to its purpose of housingan immense display of machines. 

Architecture

The architecture was evidently inspired by the great baths of ancientRome, which were similar in style, size, and detail. The scale is sogreat-this is said to be the largest wooden building in the world-that it is something of an achievement to have made the structureanything but barn like. By the richness of the cornices and the carefulspacing of the openings the architect has made it ornamental, and hasgiven it a sort of noble dignity-though one hesitates to compare itwith the palaces of the central group. 

The most interesting architectural bit in connection with the Palace ofMachinery is the entrance vestibule under the three central archways. Standing at either end of the portico one obtains a remarkableimpression of spaciousness combined with decorative completeness. Thecoloring within the high vestibule is particularly pleasing. 

Within the building the unconcealed trussing, instead of giving a senseof barrenness and lack of finish, resolves itself into a sort oflace-like decorative scheme, the whole effect being peculiarlyornamental. 

The Palace of Machinery was designed by Clarence R. Ward. 

Sculpture

The sculpture here consists of the series of four nude male figures onthe column drums, and spandrels for the main and minor doorways, and awidely different group, "The Genius of Creation, " before the mainwestern portal. All but the latter group represent "Types of Power. "

The figures surmounting columns, flanking the three arches of thecentral doorway, represent "Steam Power, " "Invention, " "Electricity, "and "Imagination. "

Steam is symbolized as a man holding a long lever. 

Invention is represented as a man holding forth a miniature wingedfigure at which he gazes steadily. 

The figure of Electricity holds jagged lightning, conventional symbol ofelectricity. 

Imagination, primal power back of all machinery design, is representedby a figure with arm thrown back of head, and seemingly with eyesclosed. 

Considered simply as portrayals of power, these four virile figures arevery successful, and they serve well to carry out the sense of immensityand strength that characterizes the entire building. But they are not atall polished or subtle, lacking the refinement that would make theminteresting as something besides vigorous types. All four figures are byHaig Patigian. They are repeated in different order on columns beforethe north and south portals of the building. 

The bas-relief friezes about the bases of the vestibule columns are alsoby Haig Patigian. The winged figure, typifying "Machinery, " lends itselfto decorative uses better than the purely human type, and the artist hasworked in various mechanical symbols quite cleverly. The cardinalprinciple in sculptural decoration of this sort is that the frieze, likethe whole column, must carry an impression of support. It will benoticed that no room has been left above the head or below the feet; andthe disposition of the wings and arms further adds to the feeling thatthe figures are a true structural unit rather than mere ornament stuckon. 

The spandrels over the minor arches in the vestibule, again typifying"Machinery, " are equally successful in serving an architectural purpose. Mural sculpture, like mural painting, must never be allowed to "make ahole" in the wall. Notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. Thesespandrels are also by Haig Patigian. The column reliefs and thespandrels are repeated at the minor doorways of the building. 

The Genius of Creation, a magnificently conceived group of sculpture, has been placed, rather unfortunately, in front of the main west portalof the Palace of Machinery. It is by Daniel Chester French, who isgenerally considered the dean of American sculptors. The Genius ofCreation is portrayed as a huge winged figure, enthroned over theformless mass of earth, with head bowed and arms outstretched, callinghuman life into being. At the two sides a man and a woman, fine strongfigures both, stand looking forth, the man courageously, the woman alittle more timidly. And at the back, as if to signify the mutualdependence of man and woman, the hands seek to touch. A serpentencircles the base of the group, symbolizing wisdom-or as some preferto interpret it, everlasting life. This serpent is probably not the onethat had so much to do with the life of the first couple on earth. 

The statue expresses, of course, the orthodox idea of creation, and itis interesting to contrast it with the sculpture of the Court ofAbundance, which in general gives expression to the doctrine ofevolution. The strong, almost severe, motherly figure is finelyreligious in feeling. The sculptor himself has commented on thereligious tone that runs through much of the Exposition sculpture, remarking especially the prevalence of winged angel-figures. The readeris left to decide how far this has resulted from the fact that thewinged form is essentially decorative, and how far from reverence. 

Viewed entirely from the aesthetic side, without regard to thesymbolism, the Genius of Creation is one of the most satisfying works onthe grounds. It is too bad that it was placed before a background ofbroken spaces, and before a colorful facade that makes it seem pale. Butin it is that reposeful strength which characterizes so much of French'swork-a sense of completeness, of fullness, that is perhaps the mostsoul-satisfying quality of great sculpture. 

The South Gardens, Festival Hall, and the Palace of Horticulture

If there is one portion of the Exposition building scheme that does notseem to "belong" to the main group of palaces, it is that which liessouth of the Avenue of Palms, including the South Gardens, FestivalHall, and the Palace of Horticulture. The relation of the two buildingsto the main courts and palaces is clear: Festival Hall terminating thecross axis through the Court of Abundance and the Court of Flowers; thePalace of Horticulture terminating the cross axis through the Court ofthe Four Seasons and the Court of Palms. But though the organicrelationship is apparent, the least discriminating of critics can seethat these buildings are of an architectural style not in harmony withthe central group of palaces. Both structures lack that fine sense ofproportion and that simple and impressive dignity which characterize thearchitecture of the courts; and both are more or less pretentious andornate. 

The South Gardens

The South Gardens, like the buildings, have a certain magnificence butat the same time lack any distinctive appeal. The three basins withtheir fountains are imposing, and the individual beds of flowers aregorgeous in their profuse massing of color; but the distances are sogreat, and the sense of enclosure that means so much to gardens is sofar lacking, that the lover of formal gardening will be less satisfiedhere than at several other places in the grounds. 

Sculpture. The sculpture of the South Gardens is all on the threefountains. The immense central group, the Fountain of Energy, alreadyhas been described. In the other two basins the Mermaid Fountain isrepeated. This is an attractively ornate bit of decorative design, surmounted by the figure of a mermaid with a dolphin. The figure wasmodeled from designs by Arthur Putnam. It is typical of the finestrength of his work, and at the same time appealing by the grace of itssinuous lines. 

Festival Hall

Festival Hall, designed for the many conventions and musical festivalsof the Exposition period, is of typically French architecture of themodern school. The building is not unpleasing, but there is little aboutit to hold the interest. Robert Farquhar was the architect. 

Sculpture. All the sculpture on Festival Hall is the work of Sherry E. Fry. The figures are well suited to their purpose, from the slender"Torch-Bearer, " surmounting the minor domes, to the heavy recliningfigures on the pylons at the main entrance. Most of the statues are tooroughly finished to have more than a decorative interest, but the twogroups flanking the main stairway are worthy of study. These two "FlowerGirls, " one on either side, have a beautiful flowing grace. But quitethe most appealing things here are the two minor figures before thepedestals on which the Flower Girls stand. Before the one at the northis a captivating boy Pan with a lizard. Half hidden in the shrubbery atthe other side is the sitting figure of a girl, attractively immatureand charming in line. 

Palace of Horticulture

The Palace of Horticulture is characterized by that combination ofEastern and Western architectural motives which is so noticeablethroughout the buildings. The dome is Byzantine, while the rest of thebuilding is of Renaissance, or modern, French architecture. The domeconsidered alone is an almost perfect bit of design, beautifullyproportioned and finely simple. The rest of the building is in generalover-decorated, the portals especially being heavily loaded down withmeaningless ornament. Apologists for the building say that the profuseornateness rightly suggests the richness of California's horticulture. Perhaps the best view of the dome is from the east end of the Avenue ofthe Nations, near the Denmark building, because from there one can seeit unobstructed, escaping the disturbing effect of the portals and theirspires. The Palace of Horticulture was designed by Bakewell and Brown ofSan Francisco. 

Sculpture. All of the sculpture here is purely decorative. The frieze atthe base of each spire, consisting of heavy female figures modeled inpairs, is by E. L. Boutier. The ornamental Caryatides of the porches areby John Bateman. 

Palace of Fine Arts

The Fine Arts Palace has been more admired, probably, than any otherarchitectural unit at the Exposition. The reasons are not far to seek. The architect has used those classic forms which for ages have beenrecognized as best suited to monumental structures, and yet he has usedthem with originality. The building is classically noble, but withoutclassic austerity or coldness. It is at once beautiful in form, rich indecorative detail, and satisfyingly warm in color. Moreover, it has thefinest setting of all the Exposition buildings. The bigness ofconception, the boldness with which the largest architectural elementshave been handled, the perfect arrangement of architecture, planting, and reflecting waters-all these combine to create the most compellingpicture on the grounds. 

The arrangement of the building is deceptive. As one looks at it acrossthe lagoon, it seems like a single unit, so well does the planting tieit together, though there are really four unconnected structures: therotunda, two detached peristyles at the sides, and the art galleryproper at the back. 

Architecture

The style of architecture is Classic, freely treated. The rotunda isRoman. The peristyle is more Greek in feeling, in the simplicity ofgeneral form, with splendidly modeled capitals, full strong columns, anddignified cornice. The curved facade of the main building, facing therotunda and peristyle, is very original in its arrangement of classicarchitectural motives and masses of foliage, with a Pompeian pergola ontop. 

The color scheme of the whole building is worthy of study. And althoughthe structure when seen by day deserves all the praise that has beenbestowed upon it, by night its beauty is beyond description. One shouldsit long at the edge of the lagoon opposite the rotunda, and watch theilluminated building itself and its reflection in the waters below, tofeel the full spell of it. No one should miss, either, the walk betweenthe peristyle and the main building on one of those nights when thereis soft local illumination, for nowhere else on the grounds has thepoetry of lighting been so perfectly realized. 

The architect of the Fine Arts Palace was Bernard R. Maybeck, aCalifornian. 

Sculpture

The sculpture about the lagoon, including that under the peristyle androtunda, is to be treated in the next chapter, except that which isdefinitely a part of the building's integral decorative scheme. 

The reliefs outside the rotunda, on the attic above the cornice, represent man's effort to gain the ideal of art. To see these reliefsbest, one should stand directly across the lagoon from the rotunda. Inthe panel facing East one sees the figure of Art personified. On eitherside is a group showing the champions of art combating centaurs, thatstand for the commonplace, materialistic things of life. In the nextpanel to the left, facing Southeast, is represented the bridling of thewinged horse Pegasus, which to the Greeks symbolized the attainment ofpoetic inspiration. Here also are figures representing the arts ofliterature, sculpture and music, by the familiar symbols, a lamp, astatuette and a lute. The panel to the right of the center one showsApollo, sun-god and patron-god of the arts, drawn in his chariot, with aprocession of devotees. These panels are repeated on the other fivefaces about the dome. They are among the finest reliefs on theExposition buildings, and are by Bruno Louis Zimm. 

The figures within the rotunda, surmounting the eight columns are"Priestesses of Culture, " by Herbert Adams. 

The flower-box sculptures are by Ulric H. Ellerhusen-both those on theground and those at the corners of the boxes surmounting the peristyle. The ladies on the latter, looking so steadily into the boxes, do notrepresent "Curiosity. " The plan was to have masses of foliageoverflowing, and half-covering the figures; and when this was given up, the decorative women gave the unexpected impression of being deeplyabsorbed in something happening out of sight of the spectator below. Anexplanation which has gained some currency is that the figures represent"Introspection, " which seems quite apropos. 

The kneeling figure (unnamed) on the edge of the lagoon before therotunda is by Ralph Stackpole. It is one of the most appealing bits ofall the Exposition sculpture, well expressing devotion and reverence. Itcannot be reached from the rotunda side, this portion of the shore beingclosed to the public. 

The figure over the doorway of the gallery is Leo Lentelli's"Aspiration. " During the early months of the Exposition this statue wassuspended from behind, the base on which it now stands having beenplaced late in the Spring. As the figure first appeared, hanging in air, it caused more comment than any other sculpture on the grounds. The mostappropriate explanation was that since the figure lacked any visiblemeans of support it probably was meant to represent "California Art. "Even the recent alterations have failed to save it from seeminggraceless and out of place. 

Mural Paintings

The eight panels in the dome of the rotunda are by Robert Reid. Thereare two series of four paintings each, called "The Birth and Influenceof Art, " and "The Four Gold's of California. " They form perhaps theleast interesting of the several groups of murals, being vague inmeaning, unpleasantly restless in composition, and only occasionallyattractive in coloring. 

The easiest panel to identify is that called "The Birth of OrientalArt, " which is on the west wall, closest to the doorway of the mainbuilding. Starting with this and following around the dome to the right, the pictures are in this order:

1. The Birth of Oriental Art. A man in armor on a fanciful, dragon isattacking an eagle, symbolizing man's effort to attain the inspirationof the heavens. Below, China can be recognized in the man with abrilliant colored robe, and Japan in the woman with the bright parasol. 

2. Gold is symbolized by a woman with a wand, on a cornucopiaoverflowing with gold. 

3. The Ideals of All Art. The ideals which animate artists are shown:Truth with her glass; Religion typified in the Madonna and child;Beauty, with the peacock; and the Militant Ideal with a flag. Above andbelow are figures carrying the wreath and the palm, the artist's tokensof success in attaining the ideal. 

4. Poppies, the second "gold" of California. 

5. The Birth of European Art. Four figures surround an altar on whichburns the sacred fire, three being merely attendants preserving theflame, and the fourth the guardian holding high a torch lit at thealtar. A man from earth grasps this torch as he leans from his flyingchariot. A woman in the lower corner holds a crystal gazing-globe, wherein the future of art has been revealed, and she turns to gaze afterthe man who is carrying the sacred fire to earth. 

6. Citrus Fruits, the third "gold" of California. 

7. The Inspiration of All Art. Two Angels of Inspiration are at the top, while below to the left are Sculpture, with a winged statuette, andArchitecture, with the scroll and compass; and to the right, Painting, with brush and palette, Music, with a lyre, and Poetry, with a book. 

8. Wheat, the fourth "gold" of California. 

The Outdoor Gallery of Sculpture

Many of the finest bronzes and marbles of the sculpture section aregiven an adequate setting which would be impossible within the gallerybuilding, by being placed in the open, along the two ends of the lagoon, through the peristyles, and under the Fine Arts rotunda. 

As this group of sculpture embraces all types from the playful to thevery serious, it is foolish to try to appreciate the whole series at onetime. Perhaps the best way is to start first to familiarize oneself withthe smaller bronzes of the purely lyric type, the charming gardenfigures, sun-dials, and miniature fountains, that make up such anattractive part of the collection. Note how often the names of EdwardBerge, Janet Scudder and Anna Coleman Ladd recur in connection with thisgraceful, intimately appealing sort of sculpture. On another day, whenlife seems soberer, spend all your time in study of the more seriousworks, such as Saint Gaudens' "Seated Lincoln, " and McKenzie's "TheYoung Franklin, " noting how the dignity, sureness of touch, and soundpurpose of these make them more appealing with longer acquaintance. Onanother day take the intermediate group, that is dignified but lessaustere in theme-such works as Sherry Fry's "Peace, " and Berge's "MuseFinding the Head of Orpheus. " Studied systematically, there is in thisseries of statues a broad education in the appreciation of sculpture. 

For convenience in reference the whole series is listed here. In regardto those works which the labels make self-explanatory, no comment isadded, unless to call attention to some special quality which theunpracticed eye might miss. Where the symbolism or "story" is obscure, an explanation is given. 

South of the lagoon are: 1. Sea Lions by Frederick G. R. Roth. 2. TheScout by Cyrus E. Dallin. Note the remarkable clean-cut quality of thisequestrian statue. 3. Wind and Spray fountain, by Anna Coleman Ladd. 4. Diana by Haig Patigian-a graceful statue of the Greek goddess of thehunt, which is in marked contrast to the same artist's strong figures onthe Palace of Machinery. 5. Peace by Sherry E. Fry. This beautifullymodeled figure has a classic simplicity that is worthy of study. 6. American Bison by A. P. Proctor. 

Beyond the second Bison, beside the roadway that runs behind the FineArts Palace, is a model of the Kirkpatrick Monument, at Syracuse, NewYork, by Gail Sherman Corbett. The central figures represent an Indiandiscovering to a Jesuit priest the waters of an historic salt spring atSyracuse. 

In the circle at the south end of the peristyle are: 1. Seated Lincolnby Augustus St. Gaudens generally considered one of the noblest works ofthe greatest American sculptor. Note especially the dignity of thewhole, and the sympathetic modeling of the face. 2. Bust of Halsey C. Ives by Victor S. Holm. 3. Bust of William Howard Taft by Robert Aitken. 4. Henry Ward Beecher by John Quincy Adams Ward-a dignified andwell-known life-size statue. 

Along the south peristyle are (at the right) 1. Piping Pan by Louis St. Gaudens. 2. Flying Cupid by Janet Scudder. 3. Muse Finding the Head ofOrpheus by Edward Berge-a marble well expressive of gentle grief. Orpheus, sweetest musician of Greek mythology, after failing to recoverhis beloved Eurydice from the underworld, in his sorrow scorned theThracian nymphs, who in their anger dismembered him. His head was washedup by the sea and found by the sorrowing Muses. 4. (At the left) MichaelAngelo by Robert Aitken, showing the master-sculpture at work on one ofhis famous figures. 5. (At the right) Young Pan by Janet Scudder. 6. (Atthe left) Wood Nymph by Isidore Konti. 7. Young Mother with Child byFurio Piccirilli. 8. (At the right) Wild Flower by Edward Berge. 9. (Atthe left) Eurydice by Furio Piccirilli. 10. (At the right) Boy and Frogby Edward Berge. 11. (At the left) Dancing Nymphs by Olin L. Warner. 12. Idyl by Olga Popoff Muller. 13. An Outcast by Attilio Piccirilli. 14. (Beside the doorway) Youth by Charles Carey Rumsey. Before the doorwayis to be placed The Pioneer Mother Monument by Charles Grafly. 

About the rotunda are: 1. (Outside the southwest archway) ThomasJefferson by Karl Bitter. 2. (In center of rotunda) Lafayette by PaulWayland Bartlett-the statue given by America to France. 3. Lincoln byDaniel Chester French, a dignified portrayal that cannot be justlyjudged from the plaster model here exhibited. 4. Relief by Richard H. Recchia, representing "Architecture. " 5. Commodore Barry Memorial byJohn J. Boyle. 6. Relief by Richard H. Recchia, representing"Architecture. " 7. Princeton Student Memorial by Daniel Chester French anoble treatment of a difficult theme. 8. The Young Franklin by RobertTait McKenzie. This is a fine conception, in which the sculptor hasescaped from the conventional path of monumental portraiture. 9. (Onwalls of west archway) Reliefs by Bela L. Pratt, representing"Sculpture. " 10. (Outside west archway) Portrait of a Boy by AlbinPolasek. 11. The Awakening by Lindsey Morris Sterling. 12. (Besidenorthwest archway) William Cullen Bryant by Herbert Adams. 

Along the north peristyle are: 1. (Beside main doorway of gallery)Beyond by Chester Beach. 2. The Sower by Albin Polasek. 3. The Centaurby Olga Popoff Muller. 4. Boy with Fish by Bela L. Pratt. 5. (At theright) Returning from the Hunt by John J. Boyle. 6. (At the left)L'Amour by Evelyn Beatrice Longman-a marble wherein the woman's figureis tenderly beautiful. 7. Garden Figure by Edith Woodman Burroughs. 8. (At the right) Fighting Boys Fountain by Janet Scudder. 9. Soldier ofMarathon by Paul Noquet. 10. (At the left) Youth by Victor D. Salvatore. 11. (At the right) Primitive Man by Olga Popoff Muller. 12. The Scalp byEdward Berge-an unpleasant bit of realism. 13. (At the left) Apollo byHaig Patigian. 14. (At the right) A Faun's Toilet by Attilio Piccirilli. 15. Duck Baby Fountain by Edith Barretto Parsons. 16. Maiden of theRoman Campagna by Albin Polasek-a figure instinct with the spirit ofthe antique. 

On the circle at the north end of the peristyle are: 1. (At the right)Young Diana by Janet Scudder-a young goddess of the hunt, conceived inmodern spirit, with remarkable freedom and grace of movement. 2. GreatDanes by Anna Vaughan Hyatt. 3. (In walk) Sundial by Harriet W. Frishmuth. 4. Bondage by Carl Augustus Heber. 5. Boy Pan with Frog byClement J. Barnhorn. 6. Sundial by Gail Sherman Corbett. 7. Threefountain groups in one basin, all by Anna Coleman Ladd. Of these the SunGod and Python has been especially admired as a spirited and gracefulbit of work. 8. (On the lagoon side of the circle) Mother of the Dead byC. S. Pietro-a sincere and powerfully realistic work, and quite unlikeanything else in the outdoor gallery. 9. (In walk) Chief JusticeMarshall by Herbert Adams. 10. Destiny by C. Percival Dietsch. 11. Sundial by Edward Berge. 12: Daughter of Pan by R. Hinton Perry. 13. Head of Lincoln by Adolph A. Weinman. 

Along the roadway to the left, as one leaves the circle, are twosculptures: Bird Fountain by Caroline Risque, and Prima Mater by VictorS. Holm. 

North of the lagoon are: 1. Fragment of the Fountain of Time by LoradoTaft. 2. Nymph by Edmond T. Quinn. 3. Dying Lion by Paul WaylandBartlett. 4. Rock and Flower Group by Anna Coleman Ladd. 5. Whale-man byBela L. Pratt. 

On the island at the north end of the lagoon is a fountain by RobertPaine. 

The Fine Arts Galleries

Do not visit the Fine Arts exhibits blindly, without knowing what theyare aimed to show; and do not try to see the whole exhibition in oneday. First understand the scope and arrangement of the displays, andthen follow some definite system by which you are sure to get the bestout of each individual section. It is better to see one part thoroughlythan to carry away a confused impression of the whole. 

The scope of the exhibit is limited to painting, sculpture andprint-making, except in the Oriental sections. In painting the primaryaim has been to make a representative display of contemporary work. Mostof the galleries contain only canvases painted within the last tenyears. But in order to correct the common misconception that Americanart is entirely a thing of today, without historical background, a fewrooms are given up to historic works of the various early Americanschools, and to works of the foreign schools that have influenced thedevelopment of American art. 

The arrangement of the galleries should be mastered before one starts tostudy. In general there are three divisions of exhibits. At each end isa group of foreign sections, and the great middle space is given up toAmerican art. The accompanying diagram is designed primarily to makeclear the location of the several divisions. The visitor will find itworth while to remember that a main central corridor runs the wholelength of the United States Section. By continually referring to thiscorridor, one can keep one's bearings fairly well. 

The method of seeing the galleries that is suggested in this guide isbased on the official classification as far as possible: the foreignsections are taken in order, and the historical section is treated inthat chronological sequence which the directors intended to show forth. But there is no system in the arrangement of the twenty-eight generalrooms of contemporary American work, In treating these the guide aims tosuggest tendencies and influences, rather than to point out this or thatcanvas as a good or bad one. Nevertheless it is believed that everyreally important picture or artist is individually mentioned-so thatone who has used the manual consistently may be sure of having enjoyedthe cream of the collection, at the same time gaining the widerknowledge of the main currents of development. 

It is necessary to use to a certain extent the arbitrarysubject-divisions, such as portrait, landscape, and figure painting; andto refer also to realistic painting, which tends to depict things asthey are, as opposed to the academic, which recognizes the wisdom ofconventionalization or idealization. But the most important distinction, for the student of contemporary tendencies, is that which concerns theterm "Impressionism. " This name in its original and technical senseapplied to the works of the men who, instead of mixing shades, placeddifferent colors side by side on their canvases to give the effect ofthe right shade at a distance. As the experiments of these artists weredirected chiefly to the solution of problems of light, the termnaturally was widened to include that whole division of painting whichis concerned with atmospheric aspects and color harmonies rather thanwith subject-interest and line composition. Terms which express the sameidea in general or in part, are "luminism" and "plein-air painting. "Impressionism has had more effect on the current of art than has anyother movement in history. Not only in the handling of light and infreshness of coloring has the whole of painting been profoundly changed, but there is a general tendency to paint the impression rather than theactuality, the harmonious effect rather than the literal fact-andthese things are notably illustrated in the Exposition galleries. 

For the sake of the visitor who comes to the gallery with practically noknowledge of art, a word may profitably be said about criticalstandards. First remember that there are many qualities which may make apainting worth while: pleasing design, beautiful color, a compellingexpression of emotion or thought, or a poetic suggestion of a fleetingaspect or mood. It is necessary to judge each particular work by theartist's intention, and not by untrained personal tastes. Before passingjudgment learn to know the picture well. You may find that you have beenattracted by something superficial. On the other hand, you may find thatthe seemingly less attractive picture, which has been recommended bypeople of trained judgment, grows more and more pleasing with riperacquaintance. Go slowly, study thoroughly what you study, and keep anopen mind-for that way leads to the widest enjoyment. 

United States Section: Painting

The United States Section consists chiefly of contemporary work, butincludes a small historical section, which is to be found to the left asone enters at the main doorway. It is in this part of the exhibit thatone should start. 

The Historical Section consists of two well-defined parts. The firstcontains examples of foreign schools of painting that have influencedAmerican art. The second contains the works of American painters fromthe beginnings to the early Twentieth Century. The Foreign HistoricalSection occupies rooms 91-92 and 61-63. 

Gallery 91-Early Schools. A gallery of old paintings, chiefly of theItalian, Flemish and Dutch Schools, designed to suggest the earliestroots of American art. Practically all the canvases are mere echoes ofthe "old masters, " and they may well be passed over hastily by all butthe most thorough historical student. 

Gallery 92-French Influence. This gallery and the next two aredesigned to show works of those schools, chiefly French, that have haddirect influence upon American art. On wall A is a painting by Courbet, interesting in the light of that artist's influence on Whistler's earlywork. But most important here are the examples of the Barbizon School, romantic landscape painters of the mid-Nineteenth Century, who had muchto do with the development of the Inness-Wyant group in America. On wallB are two canvases by Corot, both badly placed, one of which (1486) istypically poetic and beautiful. The examples by Daubigny and Rousseau onwall C are not satisfying. On wall D the two Monticellis suggest thesource of some of the rich qualities of the work of Keith and similarAmerican painters. 

Gallery 62, adjoining 92, shows the best example of Barbizon work, inTroyon's beautiful "Landscape and Cattle" on wall C. On wall A is asmall painting, interesting but not characteristic, by Millet, whoinfluenced the whole world of art toward sincerity. On wall B is SirLaurens Alma-Tadema's "Among the Ruins, " sole representative here of theEnglish School of "polished" painters that strongly influenced a numberof American artists. On wall D are two very interesting portrait studiesby Franz von Lenbach, intended to suggest the influence of the MunichSchool on American art, before Americans began to flock to Paris tostudy. 

Gallery 61-Recent French Influence. On wall A is an uneven collectionby Monet, the greatest apostle of Impressionism. This group, with theexception perhaps of the sea-shore scene, should be studied thoroughly, in regard to the technique that juxtaposes colors to give the rightresultant tone at a distance; in regard to the general tendency tosubordinate subject interest to the expression of fleeting aspects; andin regard to the masterly handling of light. No other group will bereferred to so often in connection with the American galleries. On wallB is a typically joyous canvas by Gaston La Touche, who carriesImpressionism into figure work. On walls C and D are other examples ofthe Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere. On wall D is a panel byPuvis de Chavannes, who has influenced modern mural painting more thanany other artist. This picture has the typical union of the classicfeeling with very modern technique, but it is representative of deChavannes' manner rather than of his whole art at its best. 

Gallery 63-English Influence. This is the richest of the historicalrooms. Although there is a scattered collection including the names ofVan Dyke, Guido Reni, Tiepolo, Ribera, Velasquez, Goya, and Turner, onwalls A and B, the important thing is the fine collection of the Englishportraitists. Here are examples, many of them among the finest, byHogarth, Reynolds, Gainsborough, Romney, Lawrence, and Hoppner. It ishardly necessary to point out the close connection between the work ofthis English group and early American painting, since a visit to theadjoining gallery 60 will show how the first important development inthe States grew out of the art of the mother country. 

The American Historical Section covers the entire development ofAmerican painting from the beginning to the early years of the presentcentury. To obtain the proper sequence, one should start in room 60, working gradually down to 57, then visiting 64 and 54. 

Gallery 60 contains a profusion of fine examples of the early portraitschool, which was so closely connected with English art of the time. Gilbert Stuart, the most important figure, is represented by anextensive collection on wall A. In this room, too, are canvases by West, Peale, Copley, and their followers well into the Nineteenth Century. 

Gallery 59 contains chiefly the work of that barren mid-century periodwhen portraiture and landscape painting alike became hard and labored. Insofar as any foreign influences can be detected here, they are of the"tight" schools of England and Germany. 

Gallery 58 contains some interesting work of the latter half of theNineteenth Century-notably the paintings by Eastman Johnson, animportant figure of the time when American art was finding itself. Albert Bierstadt's two landscapes are typical of the so-called HudsonRiver School, the mechanical forerunner of the Inness-Wyant group. Aninteresting contrast is offered here by H. J. Breuer's "Santa InezMountains, " a contemporary landscape that is full of the freshness andlight of present-day American painting. 

Gallery 57 shows another great step in advance. A generous portion ofthe space is given to Edwin A. Abbey, an American-born artist who reallywas more a part of English art. The exhibit shows clearly that Abbey wasgreater as illustrator than as painter, the finest things here being theexquisite pen drawings. Wall D has five paintings by John LaFarge, whoby his work and by his theories greatly influenced American art at theend of the century. Worthy of study, too, are the more modern landscapesof Theodore Robinson. 

From this room one should turn back into the central line of galleries. 

Gallery 64 contains historical American paintings that range through thelatter half of the last century and into this, with such well-knownnames as Parrish, Gifford, Hunt, Wylie, Martin, the Morans, Eakins, andeven the more recent Frederic Remington. Such pictures as F. E. Church's"Niagara Falls" (wall A), J. G. Brown's "The Detective Story" (wall B), and Thomas Hovenden's "Breaking Home Ties" (wall D), are typical of whatwas accepted as the best work a generation or two ago. 

Passing through room 65, one should next go to 54. 

Gallery 54 is the most important in the American Historical Section, forit shows the work of the men who really emancipated American paintingfrom the old hardness and tightness of technique, and from the oldsentimentalism. Wall A is given up to the work of the late WinslowHomer, who has been called "the most American of painters. " The seashorescenes alone of the things here are representative of this big man athis best. Wall B has a varied assortment by lesser painters, but ones ofimportance: Blakelock, Currier, William Morris Hunt, and Fuller. Onwalls C and D the very important canvases are those by Inness and Wyant, men who were deeply influenced by the French Barbizon School, but whoseindividual achievement marked the first great stride toward the bigness, freedom and lightness of present-day American landscape painting. 

Contemporary American Painting. Leaving aside the one-man rooms for thepresent, it is just as well to turn from the last historical room, 54, into 55, and progress in natural order through 56, 65, 85, 66 (thecentral hall), and 80. The contemporary rooms north of the central hallcan be best visited in three groups, each following the official roomnumbering: first, 67 to 74; then 43 to 51; and finally the detachedsection at the far north end of the building, 117 to 120. 

Gallery 55 has a well assorted collection of contemporary canvases, butincludes no outstanding features. 

Gallery 56 is a typical modern American room, with good landscapes inthe work of Breuer, Borg, Davol, and Stokes. 

Gallery 65 contains some of the best American figure paintings in thebuilding. The finest group is that by Cecilia Beaux on wall D, whichwell displays that remarkable artist's brilliant technique and "flair. "It is notable how many of the really virile paintings here are by women-many of them of the younger groups. From Marion Pooke's polished butfree "Silhouettes, " and Alice Kent Stoddard's appealing "Sisters, " to M. Jean McLane's joyously brilliant canvases on wall C, there is a widerange of achievement and promise. 

Gallery 85. On walls A and B are five canvases by Horatio Walker thatare worthy of attention. But finer are Charles W. Hawthorne's fourpaintings on walls B and D. Their bigness of conception, sincerity andsoundness of technique mark a coming master. Wall C is given up to adisplay by Charles Walter Stetson, which shows, more strongly than anyother in the American section, that tendency to the decorative and theidyllic which is to be noted as so strong in recent painting. On wall Dare three works of George deForest Brush, a man who has been but littleinfluenced by the more radical tendencies. "The Potter" is interestingfor the painstaking and minute finish of varying surface textures. 

Gallery 66-Central Hall. Although the important places here are givento sculpture, there are a few very interesting paintings: somerepresentative landscapes, and at the ends decorative panels byAlexander Harrison and by Howard Cushing. 

Gallery 80 is notable for the work of painters who have followed ratherclosely the old academic traditions: for the smooth and polishedcanvases of W. M. Paxton and Philip Leslie Hale. There are also sevenlandscapes by Willard L. Metcalf, fresh attractive work of the"plein-air" school. 

Gallery 67 is rich in fine landscapes, and contains the best of theexhibition's marines. Here are the only works of Charles H. Davis, anotable follower of the poetic Inness School, and of Leonard Ochtman andBen Foster, who stand well to the fore among the more vigorouslandscapists. Also worthy of attention are the landscapes of Braun, Borg, White, Wendt, J. F. Carlson, Rosen and Browne. The marinesrepresent well a department of painting in which Americans have longexcelled; on wall A are four by Paul Dougherty, on B and C three byFrederick J. Waugh, and on D one by Emil Carlsen. Of the other paintingsthe most interesting is the idyllic bit by Hugo Ballin on wall C, representative of the decorative tendency. 

Gallery 68 contains as its most important exhibit three portraits by J. C. Johansen, on wall B, all typical of the brilliant fluency of thisremarkable painter. Among the landscapes here the most important are thetwo Schofields on wall D, typical of the best and sanest phase ofImpressionism in America. Very important too are the canvases by DanielGarber on wall C. 

Gallery 69 contains a mixed collection, with such different good thingsas Lawton Parker's polished figure studies (wall B) and J. FrancisMurphy's poetic landscape (wall C). On wall C is a painting by John W. Alexander, one of the leaders in American art, which is typical of hismethod of subordinating subject interest to line arrangement and colorcomposition. 

Gallery 70-Portrait Room. On wall C are three portraits by Irving R. Wiles, and on D two by Julian Story-both names long well-known inAmerican art. But the surprising thing is that several of the canvasesby less known men stand up with, or even surpass, these. 

Gallery 71 is notable chiefly for some good landscapes. 

Gallery 72 contains little to hold the attention, unless it is the groupof canvases by Walter McEwen, who shows adherence to the oldertraditions, not only in smoothness of technique, but in sentimentalismand general prettiness. 

Gallery 73 is given up chiefly to Alson Clark's over-sketchy andintemperately colored Panama pictures. The most interesting thing hereis Ernest Lawson's "Beginning of Winter, " on wall B, a representativework by one of the most successful American followers of Impressionism. 

Gallery 74 is a room of good landscapes, with a few outstanding canvaseslike Will S. Robinson's "Group of White Birches" on wall C. 

A new start should be made here by passing through rooms 70 and 71 to43, from which the numerical order can be followed back to room 51, adjoining the central hall. 

Galleries 43 and 44 have a range from many mediocre to a few really goodthings, lacking anything that demands special attention. 

Gallery 45 is a room rich in comparative values. Note the delicacy oftreatment and of color in William Sartain's three landscapes, on wall A, and in Birge Harrison's atmospheric paintings on wall D. Compare thesewith the heavily painted and richly colored canvases by Walter Griffinon wall C, and then with the more straightforward, vigorous work ofCharles Morris Young on wall B. Harrison, Griffin and Young, at least, are of the distinctly modern school; but note how individually each hasutilized his inheritance of vibrating color and light. On wall A are twofine figure studies by Robert Reid, an innovator and a really greatpainter, though he did not show it when he painted the panels for theFine Arts rotunda. 

Gallery 46. There is much poor material here; but on walls B and C aresome paintings by Frank Vincent Dumond that are interesting for theirfresh coloring and their solving of light problems. 

Gallery 47 contains evidences of progress in varied lines, from E. L. Blumenschein's big Indian pictures, and Cohn Campbell Cooper's studiesof American cities, to the experiment in painting flesh against a richlyvaried background, by Richard Miller, a gifted American who has longlived in Paris. 

Gallery 48 contains much promising work of various tendencies, but nooutstanding features. 

Gallery 49 contains, on wall A, a splendid collection of the work ofDwight W. Tryon, one of the older school of landscapists, who helped tobreak the way for the moderns and has kept up with them to a greatextent. With the exception of one canvas, the pictures on walls B and Dare by J. Alden Weir, another roadbreaker, and an experimenter with neweffects of light and atmosphere. In such canvases as "June" and "WhiteOak" one finds some of the best that American art has built on thetheories of Monet. 

Gallery 50 contains some good landscapes, but nothing that demandsspecial attention aside from Sergeant Kendall's refined figure studies. 

Gallery 51 is given over in general to the independents and extremistsof American art. Here are canvases by Glackens, Sloan, and Breckenridge, rather disappointing to one who has watched hopefully the movement theyrepresent. Certainly their exhibits are suggestive of a ratherundisciplined vigor and freedom. On wall C the five canvases in thelower row are by Robert Henri. They are the experiments of a master, rather than his best works. The truly representative Henri picture isthe "Lady in Black Velvet, " on wall D. This has a wonderful syntheticquality, a suppression of detail and a spotting of interest at theimportant point. There is, too, a spiritual quality that is lacking inthe other canvases. On the other side of the doorway is GertrudeLambert's "Black and Green, " a notably fine canvas. 

The only other general rooms of the contemporary American section arethose at the far north end of the building, beyond the foreign sections, numbered from 117 to 120. 

Gallery 117 is a sort of catch-all room, in which are many things thatnever should have been admitted to the galleries. The really interestingfeature is the series of canvases by Frieseke, full of light andfreedom. Gallery 118 is less mediocre on the whole, but lacks anyfeatures of special appeal. Gallery 119 includes a surprisingconglomeration of paintings and drawings in all mediums, wherein theextremists have their say. There is a wealth of interest here, but onemust have time to separate the bad from the good. Gallery 120 is alsomarked generously by the newer tendencies. The important feature is thegroup of virile paintings by George Bellows, on wall C. These mark themost successful American attempt to grasp sanely the bigness and freedomof the post-Impressionist movements. 

One-man Rooms. As a part of the plan to show the various influences onthe course of American art, it was decided to give up a number of roomsto individual displays by leaders of the several well-marked tendencies. Galleries 75-79, 87-90, and 93, at the east side of the building oneither side of the center, contain these "one-man shows. "

Gallery 75-Sargent. Here are shown a number of canvases by the mangenerally considered the greatest living American painter-certainlythe greatest of the portraitists. Though containing none of the reallyfamous paintings, there are portraits which show the typical Sargentbrilliancy-the swift sureness and the perfect balance of restraint andfreedom. The James portrait is especially worthy of study. 

Gallery 76-Mathews. In this room are shown a number of canvases byArthur F. Mathews, most important of the California painters, as well asa few by Francis MacComas, another Californian. Mathews stands primarilyfor the decorative tendency. His canvases have a noble sense of reposethat is too often lacking in contemporary work, and there is remarkablecolor harmony here. 

Gallery 77-Melchers. Here are representative works by Gari Melchers, afamous American who has long lived abroad. Unmistakably these canvasesare from a masterly brush; but the coloring is not always good, and theroom is somewhat disappointing. 

Gallery 78-Hassam. By common consent Childe Hassam is considered thegreatest American follower of Impressionism. He is an innovator who hascarved a sure place for himself by adding a new vigor to the methods ofthe original Impressionists. Such decorative canvases as 2033 on wall B, and such delicate ones as 2029 on wall D, should be compared with theMonets in room 61. 

Gallery 79-Chase. This room is designed to show the work of anAmerican who was greatly influenced by the Munich School of painters. William M. Chase, both in his portraits and in his remarkable still-lifestudies, shows the fine German thoroughness rather than Frenchbrilliancy. The four canvases that hold the places of honor on all fourwalls show clearly the influence of Whistler. 

Gallery 87-Duveneck. Here are works by Frank Duveneck, who like Chasestudied at Munich. Sound in draughtsmanship, steady, and well-thoughtout, they maintain a remarkable standard of excellence. It isinstructive to step from here into the adjoining large gallery, wherethe French influence is predominant. 

Gallery 88-Redfield. In the winter scenes of E. W. Redfield one findsthe sure touch of a master of the new and vigorous school of Americanlandscapists. Redfield has modified Impressionism, clinging to a certainreality, and yet achieving the sparkling atmospheric effects of theluminists. 

Gallery 89-Tarbell. In contrast to Hassam and Redfield and Twachtmanis Edmund C. Tarbell, who has taken but little from the Impressionistgroup. His most characteristic and most appealing work can be seen inthe canvases on wall A, beautifully lighted interiors which show theacademic tendency, but in a new and delightful way. 

Gallery 90-Keith. This collection of canvases, with its sameness ofsubject and arrangement, is hardly typical of the late William Keith athis best. He was the western representative of the Inness-Wyant schoolof the late Nineteenth Century, though he leaned more to the romanticthan did the others. 

Gallery 93-Twachtman. Here are the works of a painter who is closer toMonet than to the more vigorous American school of modifiedImpressionism. It is well to study one wall, A perhaps, and then to goto the Redfield and Hassam rooms, and then to the group of Monets, tosee the various ways in which Impressionism has spread. 

Gallery 26-Whistler. The Whistler room is quite appropriately placedwith the foreign historical rooms, rather than with the other one-mangalleries-as if Whistler should be grouped with the influences ratherthan the influenced. The room contains none of the artist's finestpaintings, but is well representative of the several sides of his work. Wall D shows Whistler the portraitist, with "his faces and figures thatemerge from a soft black background, very much as one sees a person inthe gathering twilight. " On walls A and B it is Whistler the colorist, and on wall B especially, Whistler the rediscoverer of Japanese colorand figure composition. On wall D is the "Study of Jo, " anuncharacteristic early work, which shows the influence of Courbet. 

American Section: Prints

The American prints occupy rooms 29 to 34, along the west wall of thebuilding just south of the central vestibule. The exhibit is veryrepresentative, and contains both historical and contemporary sections. 

Gallery 29-Prints by Whistler. Here is a collection of Whistler'setchings and lithographs, with a few drawings. The distinguishingquality is an exquisite delicacy. 

Gallery 30-Historical Prints. In this room one can trace thedevelopment of American engraving and etching from the beginnings to thepresent day. Starting on wall D one finds steel engraving illustratedfrom the days of Paul Revere to its decadence; then the history ofwood-engraving to its flowering in Cole and Wolf; early and recentAmerican etching; and a few modern copper engravings and lithographs. 

Gallery 31-Prints by Pennell. This room contains a splendid collectionof prints from all of Joseph Pennell's important series, in etching, lithography and mezzotint-a remarkable display by one of the world'sgreatest etchers. 

Galleries 32 and 33-Contemporary Etchers. These two rooms contain arich collection of contemporary American work that should be studiedprint by print. Even a superficial look will indicate that even withoutPennell and Whistler the American etchers are doing work universallyworth while. 

Gallery 34-Color Prints. Here is an interesting collection of colorprints in both etching and wood engraving. It shows the achievement ofthe younger artists in mediums that were practically unknown in thiscountry ten years ago. 

American Section: Illustration

Galleries 41 and 42 are given up to drawings and paintings by HowardPyle, who has been called "the father of modern American illustration. "

Gallery 26, adjoining the Italian section, contains a small but fairlyinteresting group of original drawings for illustration. In the work ofWyeth, Schoonover, Elizabeth Shippen Green, Jessie Wilcox Smith, andothers, there is very strong evidence of Howard Pyle's influence. Onwall B of this room, and in the adjoining gallery 27, there is acollection of photographs of American sculpture and mural paintings. 

Gallery 36, adjoining the main west vestibule, has a miscellaneouscollection of drawings and paintings in all mediums, ranging from themost delicate and polished to caricature and sketchiness run riot. Thereis a great deal of interest, but little that is important in a big way. 

American Section: Miniatures

Galleries 37 and 40 contain an excellent collection of miniatures, ranging from a work by Malbone, the first important American in thisfield, to that of such notable contemporaries as W. J. Baer, Laura C. Hills, and Lucia Fairchild Fuller. 

In both miniature rooms there are a number of paintings and drawings, invarious mediums, including, in room 40, a few oils by Jules Guerin, thecolor wizard of the Exposition. 

American Section: Sculpture

Of the monumental sculpture of the American Section most of the finestexamples are out-of-doors. The central hall of the gallery buildingcontains a collection that is worth studying piece by piece, includingsuch notable things as Daniel Chester French's "Alice Freeman PalmerMemorial, " Karl Bitter's "Signing the Louisiana Purchase Treaty" and"Tappan Memorial, " and Robert Aitken's "Mausoleum Door. "

But by far the most notable thing about the sculpture display is theextensive collection of charming small bronzes, which is scatteredthrough the many rooms. The visitor should especially make sure ofseeing certain individual group exhibits, such as the very freelyrendered figures by Paul Troubetzkoy in the International Room (108), Paul Manship's groups, with their touch of classic appeal, in gallery93, and the cases of statuettes by Abastenia St. Leger Eberle and BessiePotter Vonnoh, in gallery 65. Very rich in interest, too, is thecollection of medals and plaques, shown in galleries 38 and 39. 

Foreign Sections

The foreign sections are in two groups, at the two ends of the building. There is no system in their arrangement, and they are treated here inthe order in which they happen to be placed, beginning at the far southend. 

The Japanese Section occupies galleries 1 to 10. To appreciate Japaneseart it is necessary to become accustomed to the conventionalization oftreatment-to understand what the artist was after, and to judge fromthat standpoint. It is well to begin by studying works that are morelike Western art-such things as "Moving Clouds" (15) and "Evening:Nawa Harbor" (12) in room 1-and then to progress to the works in whichthe conventions are more pronounced. Note, throughout the paintings inrooms 1, 2 and 3, the delicacy of tone, the color harmony, and the finesense of composition and pattern. 

In galleries 8 and 10 are collections of Japanese sculpture andpainting, done in the Western manner. It is interesting to see what theOriental artist can accomplish in an alien medium; but neither for theJapanese nor for the American can these works have the same genuineappeal as those in galleries 1 to 3. The other rooms contain a variedcollection of porcelain, embroidery, wood and ivory carving, and prints. 

The French Section is one of the most interesting, but is hardlyrepresentative of the best that country has achieved in art. The generalaverage is such that it upholds France's traditional standing as thehome of "good painting, " but this is by no means a collection ofmasterpieces. The most noticeable tendency is that toward thedecorative. The galleries of the French section have been re-numbered, beginning with 1. 

Gallery 1 is a rather poor room on the whole, though it, contains twocanvases on the north wall by Lucien Simon, typical of that artist'smasterly breadth of treatment. On the west wall, beside the doorway, aretwo of Aman-Jean's portraits. The little landscape (429) under one ofthese, by Marcel-Clement, is notable, as are also Jean Domerque'sdecorative canvas on the south wall and Maury's three nude girls on thenorth. 

Gallery 2 is most interesting for the group on the north wall, where theplace of honor is given to Henri Martin's work. Here is an artist whohas carried Impressionism to its limit of vibrating light and color. Thelarge central canvas should be seen from the Japanese room. Theself-portrait (433) is even more interesting. On this wall are picturesthat offer a striking comparison of methods of painting. 

Gallery 3 is made especially interesting by the domination of one man, Maurice Denis, who is the leader among the "advanced" decorators ofFrance. There is much that is worthy of study in the simplicity and inthe color of his panels here. The room contains also a number ofexamples of the new and ultra-new schools, from Monet and Degas to Redonand Puy. 

Gallery 4 contains few outstanding features, the more conservativeelement predominating. There is charming color in Caro-Delvaille'scanvas on the East wall (279), and there is a Lucien Simon on the southwall. Gallery 5 likewise is not very important. 

Gallery 6 especially illustrates the decorative tendency. On the northwall are panels by Auburtin, a follower of de Chavannes, and by Devoux, which are pure decorations. On the south wall is a large canvas by thecelebrated Menard; but his little seascape on the west wall (445) ismore appealing, being one of the most attractive things in the section. Note how the decorative tendency characterizes not only these outdoorpictures, but the neighboring portraits as well. On the east wall is acanvas by le Sidaner, a leader of the plein-air school, which remindsone that good French landscapes are few in this exhibit. 

The Italian Section is the best arranged in the galleries. There is ageneral feeling of orderliness and rest that is quite welcome as onecomes from the overcrowded American rooms. The Italian paintings do notgive the impression of an exhibition of masterpieces-indeed there arevery few canvases that demand special notice-but they are well up tothe average set in the other sections. 

Gallery 21 is the most interesting. On the wall facing the main doorwayare five pictures by Ettore Tito, perhaps the greatest and certainly themost popular, of Italian painters. All are strong, and they are paintedwith a bigness and a sureness of touch that are compelling. Veryinteresting too are the canvases on the adjoining wall by CamilloInnocenti, who has achieved the vibrating light and fresh coloring ofthe Impressionist School in an individual way. 

Gallery 22 contains a varied collection, ranging from the academic tothe radical. Here are two canvases by Arturo Noci, one of the leaders ofthe Italian Secession. Gallery 23 is given up mainly to sculpture. Themost compelling thing is d'Orsi's realistic "Tired Peasant. " With theexception of some of the small bronzes, the rest of the sculpture of thesection is hardly notable. 

Gallery 24 contains a very interesting canvas in Plinio Nomellini'spicture of a woman and child in a boat drawn up under a tree. The thingis full of sunlight and sparkling color; and it strikes a good mediumbetween the old tight painting and that which carries Impressionism toofar-both of which extremes can be seen in plenty in this room. Gallery25 is an average room, without special features. 

The Cuban Section occupies gallery 20, next to the Italian section. There is hardly a picture here that does not seem labored in comparisonwith the freedom elsewhere. 

The Uruguay Section, in the adjoining gallery 19, is just the oppositefull of freshness and vigor, and brilliant in color. But the gift ofbrilliancy is rather undisciplined, and while there is unmistakablepromise, one feels that the art of Uruguay has not yet found itself. 

The Chinese Section occupies galleries 94 to 97, and is notable for thepaintings on silk and paper, the cloisonne, and the lacquer. There is awealth of interesting material in the display, but it really requires agreat amount of study for full appreciation. The Chinese Commission hasprepared a special catalogue, which can be had in the rooms if one isspecially interested. 

The Philippine Section, in the adjoining gallery 98, is almostnegligible in a building where there is so much really worth seeingthough some of the paintings by Felix Hidalgo have a dramatic interest. 

The Swedish Section, in galleries 99 to 107, is one of the mostimportant in the building. One who likes a gentle, polished sort of artwill not be at home here; but for virile, fresh and colorful paintingthere is no other section that achieves the same high standard. Many ofthe pictures are so strong and big that they never should have been putin these box-like little rooms, where a proper perspective isimpossible. In the paintings there are traces of French and Germantraining, and especially of Impressionism; but the exhibit shows moretrue national feeling and more individual independence than any other inthe building. 

The two featured groups are the remarkable paintings and tapestries ofGustav Adolf Fjaestad in gallery 107-well worthy of long study-andthe paintings and prints of Carl Larsson in gallery 101. But there aremany other things quite as important: the brilliant and fresh canvasesof Carlburg, the snow scenes touched with late sunlight, by Schultzberg, and the compelling autumn decorations by Osslund, all in gallery 102;the illustrations by Bauer in gallery 104; the big landscapes byHesselborn in gallery 105; and the deep-toned studies by Anna Boberg, and the virile portraits, in gallery 106. If you doubt that theseSwedish painters can do the polished, poetic thing, as well as the bigvigorous sort, go back to gallery 103, and look at Bergstrom'satmospheric "Spring Day. "

The Swedish sculpture is not so remarkable as the painting; but theprint section in gallery 99 contains a number of very interestingetchings and wood engravings. 

The Argentine Section, in gallery 112, shows much that is fresh, strong, and brilliant in color. It is interesting to see how much closer theseSouth American painters are to Spain than to France and Germany. Hereare many echoes, not only of Velasquez and Goya, but of the vital modernSpaniards like Zuloaga. The collection is very uneven; but in the workof men like Jorge Bermudez and Hector Nava there is a mighty promise ifnot any great achievement. The few sculptures are unusually strong andinteresting. 

The Portuguese Section, in galleries 109 to 111, has the appearance ofbelonging to an older period in the history of art than the present. Onefeels that the artists who show pictures here have not that mastery oflight which marks the Nineteenth Century's greatest advance in painting. Certainly there is evidence of a general reliance on the olderstandards. Perhaps the best works are those of Columbano, in the centralgallery. Here too, and in the next room, are some realistic works ofMalhoa that compel attention. 

The International Room, gallery 108, contains all that the Expositionhas of German work. On wall C are such splendid things as Leo Putz' "TheShore" and Heinrich von Zugel's "In the Rhine Meadows;" and on wall A isFranz Stuck's "Summer Night"-by no means one of this decorator's bestworks, though characteristically rich and deep-toned. But one feels thelack of those others who have lately lifted Germany back among thegreatest nations artistically: von Uhde, Liebermann, von Gebhardt, Klinger, Erler, and von Hofmann. In the same way the young and virileEnglish group is not represented, though in this room is a passableportrait by the great John Lavery. On wall D are two Spanish works ofLopez-Mezquita, that are worthy of attention but nothing of Zuloaga orSorolla. 

The Holland Section, occupying galleries 113-116, contains a displaythat is well balanced but without outstanding features. There are echoesof many departed glories, of Rembrandt, of Hals, and even of the FrenchBarbizon men, and a few typical beautifully lighted Dutch interiors. Butthere is none of the work of the men whom the art magazines have taughtus to consider the representative Dutch painters of today: Israels, theMaris brothers, and Mauve. The print room is likewise good rather thansplendid, unless one excepts M. A. J. Bauer's fine Rembrandtianetchings. Charles van Wyck's small bronzes are notable among thesculptures. 

Scattered Art Exhibits State and Foreign Buildings

The Palace of Fine Arts has been reserved exclusively for painting, sculpture and prints, with the result that the material of the usual"arts and crafts" exhibitions has been badly scattered. Certain exhibitshave been taken to the state and foreign buildings, some of which arealso of interest architecturally; but most of the craftswork is to befound in the four exhibition palaces on the Avenue of Palms. 

The Palace of Varied Industries contains, between 5th and 6th Streets, three important displays: at Avenue A is Denmark's exhibition ofporcelain and pottery, with a small section devoted to the book arts; atAvenue B is an excellent display of German porcelain; and at Avenue D isthe Netherlands exhibit of porcelain and pottery. At 4th Street andAvenue C is the exhibition of Chinese arts and crafts. The Americansection of so-called "Domestic Arts and Crafts" is at 1st Street andAvenue C, and contains a very small but select showing of all the usualhandicrafts. Elsewhere in the building there are minor displays oftextiles, ceramics, tapestries, silver work, and interior decoration, installed by commercial firms. One can see looms working, jewelry beingmade, and China being painted. 

The Palace of Manufactures is notable for the extensive arts and craftsexhibit of Japan, which covers almost one-quarter of the building'sfloor space; for that of Italy, which includes a large number ofstatuettes besides the usual departments; and for those of France, andGreat Britain and Ireland. One will find all of these displays bywalking along Avenue C. 

The Palace of Liberal Arts contains a few exhibits of the book arts andarchitecture. The most important architectural display is that in theUnited States Government Section, shown by the National Fine ArtsCommission. On Avenue D between 1st and 5th Streets there are displaysof fine photography. 

The Palace of Education contains the exhibition of the American artschools, at Avenue B and 6th Street. At Avenue E and 3rd Street potteryis made. 

In the group of palaces on the Marina there is little to interest in artmatters. In the Mines Palace the Government's exhibit of coins andmedals is of some interest. In the Transportation Palace the student ofapplied art can find much to think about in the relation of art toautomobile design. In the Agriculture and Food Products Palaces there islittle to attract the art-lover except at meal-time. 

The Italian Buildings contain an extensive museum of national historicart and archaeology, which is well worth seeing. The mural painting inthe Royal Salon represents "The Glorification of Italy. " The buildingsreproduce historic Italian styles of architecture. The charming centralcourt, the gardens, and the buildings contain many replicas ofmasterpieces of sculpture. 

The French Building was unfinished at the time this was written (Junefirst), but it is to contain an extensive art display. There are to be anumber of statues by Rodin, the greatest of modern sculptors, whichalone would make a visit imperative for every art lover. 

The Swedish Building is one of the most interesting architecturally, suggesting the fine originality of recent Scandinavian architecture. Itis worthy of note too, that the Norwegian and Danish buildings strike anote of freshness that is in fine contrast with most of the foreignpavilions. In all three of these buildings there are small exhibits ofpainting and handiwork. 

The Turkish Building contains an attractive exhibit of rugs; and in thePhilippine Building there is a display of metal work and basketry. 

The State Buildings are in general designed for social purposes. That ofPennsylvania is an interesting bit of Colonial architecture, andcontains two virile and colorful decorations by John Trumbull, representing "Penn's Treaty with the Indians" and "The Industries ofPennsylvania. " The Maryland Building is also a simple, dignified bit ofColonial design. The Massachusetts Building reproduces the famous"Bulfinch front" of the Boston State House. The Mission style ofarchitecture is pleasingly exemplified in the California Building. 

Index

"Abundance"-61Adams, Herbert-70"Adventurous Bowman"-60Aitken, Robert-17, 30, 74"Aquatic Life"-22Architecture as a Whole-9Argentine Fine Arts Section-94"Armored Horseman"-49Arts and Crafts Exhibits-97Bacon, Henry-37Bakewell & Brown-67Bancroft, H. Milton-40Bateman, John-44, 67Beach, Chester-16"Beauty and the Beast-47Bennett, Edward H. -10Berge, Edward-72, 73Bitter, Karl-11, 91Borglum, Solon-47Boutier, E. L. -67Brangwyn, Frank-19Bufano, B. -32"Bulls, The"-37Burroughs, Edith Woodman-51Calder, A. Stirling-11, 30, 31, 32, 44, 47, 53, 60Chase, William M. -88Chinese Fine Arts Section-94Color Scheme-11Column of Progress-60Corbett, Gail Sherman-73"Cortez"-49Court of Abundance-13Court of Flowers-45Court of Four Seasons-35Court of Palms-43Court of Universe-23Crafts Exhibits-97Cuban Fine Arts Section-93Cummings, Earl-61Dallin, Cyrus E. -73Diagram of Art Galleries-76Diagram of Grounds-8Dodge, W. DeL. -52Dumond, F. V. -34Duveneck, Frank-88"Elements, The"-21, 30Ellerhusen, Ulric H. -70"End of the Trail"-44Farquhar, Robert-67Faville, W. B. -55"Feast of Sacrifice"-37Festival Hall-67"Festivity"-31Fine Arts Galleries-77Flanagan, John-49Florentine Court-34Foreign Buildings-98Fountain of Ceres-40Fountain of Earth-17Fountain of El Dorado-51Fountain of Energy-53Fountain of Rising Sun-25Fountain of Setting Sun-27Fountain of Youth-49Fountains of the Seasons-39Fraser, James Earl-44French, Daniel Chester-74French Building-98French Fine Arts Section-92Fry, Sherry E. -22, 67, 73"Genius of Creation"-65Gerlach, Gustave-57Gruppe, Carl-44, 47Half-dome of Philosophy-57Half-dome of Physical Vigor-61Harley, Charles R. -61"Harvest"-39Hassam, Childe-45, 88Hastings, Thomas-49Historical Fine Arts-79Holland Fine Arts Section-95Holloway, Charles W. -44Illustration Section-90International Room-95Italian Building-98Italian Fine Arts Section-93Italian Towers-43Jaegers, Albert-37, 39Jaegers, August-40Japanese Fine Arts Section-91Keith, William-88Kelham, George W. -44, 47Konti, Isidore-60Ladd, Anna Coleman-72, 75Laessle, Albert-47Lentelli, Leo-17, 30, 31, 71Lighting-12Longnan, Evelyn B. -40, 74Manship, Paul-31, 91Mathews, Arthur F. -45, 87Maybeck, Bernard R. -70McKenzie, Robert T. -72, 74McKim, Mead & White-25McLaren, John-12MacNeil, Hermon A. -31, 60Medals-91Melchers, Gari-88Mermaid Fountain-66Miniature Section-90"Mother of Tomorrow"-30"Motion"-31Mullgardt, Louis C. -15Mullgardt Tower-15Murals-In Arches-32Murals-Court of Abundance-19Murals-Court of Four Seasons-40Murals-Court of Palms-44Murals-Fine Arts Rotunda-71Murals-Tower of Jewels-52"Music"-31"Nations of the East"-29"Nations of the West"-29Newman, Allen-59Niehaus, Charles-49Outdoor Gallery of Sculpture-72Palace of Agriculture-61Palace of Education-57, 97Palace of Fine Arts-69Palace of Food Products-69Palace of Horticulture-67Palace of Liberal Arts-56, 97Palace of Machinery-62Palace of Manufactures-56, 97Palace of Mines-59Palace of Transportation-59Palace of Varied Industries-55, 97Patigian, Haig-63, 73Pennell, Joseph-89Philippine Fine Arts Section-94Piccirilli, Furio-40Pietro, C. S. -75"Pioneer, The-47"Pizarro"-49Portal of Varied Industries-56Portals of North Facades-59Portuguese Fine Arts Section-95Print Section-89Putnam, Arthur-66Pyle, Howard-90Redfield, E. W. -88Reid, Robert-71Richardson, W. Symmes-60Rodin-98Roth, F. G. R. -30, 32Rumsey, Charles C. -49Ryan, W. D'Arcy-12St. Gaudens-72, 73Sargent, John Singer-87Scudder, Janet-75Sculpture Section-72, 90"Signs of the Zodiac"- 31Simmons, Edward-33South Gardens-66Stackpole, Ralph-56, 57, 61, 71"Stars"-31State Buildings-98Swedish Building-98Swedish Fine Arts Section-94Tarbell, Edmund C. -88Tonetti, F. M. L. -49"Torch Bearer"-67Tower of Jewels-48Tower of Jewels-Height-34"Triumph of the Field"-61Troubetzkoy, Paul-91Twachtman-89"Types of Power"-62Ulrich, Louis-55U. S. Fine Arts Section-79Uruguay Fine Arts Section-93Venetian Court-34"Victorious Spirit"-45Walter, Edgar-47Ward, Clarence R. -62Ward, J. Q. A. -73"Water Sprites"-17Weinert, Albert-17, 44, 56, 57Whistler-89Whitney, Gertrude V. -51"Winged Victory"-55Young, Mahonri-56Zimm, Bruno Louis-70

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