The Art of the Exposition

Personal Impressions of the Architecture, Sculpture, Mural Decorations, Color Scheme & Other Aesthetic Aspects of the Panama-PacificInternational Exposition

ByEugen NeuhausUniversity of CaliforniaChairman of the Western Advisory Committee and Member of the SanFrancisco Jury in the Department of Fine Arts of the Exposition

To the Panama-Pacific International Exposition. A Great Work of Peace. These lines are appreciatively dedicated May the First 1915

Publisher's Announcement

The following pages have grown out of many talks given during the yearby Mr. Neuhaus to his students at the University of California. Presented to the public in the form of a series of evening lectures atthe University, and repeated before many other organizations throughoutCalifornia, his interpretation of the Art of the Exposition roused ademand for its repetition so widespread as only to be met by the aid ofthe printing press. 

San Francisco, California May 1, 1915

Contents

The ArchitectureThe architectural scheme, the setting and the style of the architecture. 

The SculptureIts relation to the architecture, its artistic meaning and itssymbolism. 

The Color Scheme and the Landscape GardeningThe color elements as furnished by the artist and by nature; thehorticultural effects. 

The Mural DecorationsThe intellectual emphasis of the color scheme, and the significance ofthe mural decorations. 

The Illumination - ConclusionThe Exposition at night. 

AppendixGuide to Sculpture, The Mural decorations, Biographical notes. 

List of Illustrations

The Tower in the Court of Abundance. Louis Christian Mullgardt, Architect. (Frontispiece)Under the Arch of the Tower of Jewels. McKim, Mead and White, ArchitectsView Through the Great Arches of the Court of the Universe. McKim, Mead and White, ArchitectsNiche Detail from the Court of the Four Seasons. Henry Bacon, ArchitectThe Court of the Four Seasons. Henry Bacon, ArchitectNorthern Doorway in the Court of Palms. George Kelham, ArchitectEntrance into the Palace of Education. Bliss and Faville, ArchitectsDetail from the Court of Abundance. Louis Christian Mullgardt, ArchitectThe Palace of Fine Arts. Bernard R. Maybeck, ArchitectColonnade, Palace of Fine Arts. Bernard R. Maybeck, Architect. Portal of Vigor in the Palace of Food Products (in the distance). Bliss and Faville, ArchitectsColonnade, Palace of Fine Arts. Bernard R. Maybeck, ArchitectThe Setting Sun. Adolph A. Weinman, SculptorThe Nations of the West. A. Stirling Calder, Frederick C. R. Roth, Leo Lentelli, SculptorsThe Mermaid. Arthur Putnam, SculptorThe Adventurous Bowman Supported by Frieze of ToilersDetails from the Column of Progress. Hermon A. MacNeil, SculptorThe End of the Trail. James Earl Fraser, SculptorAutumn, in the Court of the Four Seasons. Furio Piccirilli, SculptorThe Pacific-Detail from the Fountain of Energy. A. Stirling Calder, SculptorThe Alaskan-Detail from Nations of the West. Frederick C. R. Roth, SculptorThe Feast of Sacrifice. Albert Jaegers, SculptorYouth - From the Fountain of Youth. Edith Woodman Burroughs, SculptorTruth - Detail from the Fountain of the Rising Sun. Adolph A. Weinman, SculptorThe Star. A. Stirling Calder, SculptorThe Triton - Detail of the Fountains of the Rising and the Setting Sun. Adolph A. Weinman, SculptorFinial Figure in the Court of Abundance. Leo Lentelli, SculptorAtlantic and Pacific and the Gateway of all Nations. William de Leftwich Dodge, PainterCommerce, Inspiration, Truth and Religion. Edward Simmons, PainterThe Victorious Spirit. Arthur F. Mathews, PainterThe Westward March of Civilization. Frank V. Du Mond, PainterThe Pursuit of Pleasure. Charles Holloway, PainterPrimitive Fire. Frank Brangwyn, PainterNight Effect - Colonnade of the Palace of Fine Arts. Bernard R. Maybeck, ArchitectOfficial Poster. Perham W. NahlGround Plan of the Exposition

The Art of the Exposition

The Architecture

It is generally conceded that the essential lesson of the Exposition isthe lesson of art. However strongly the industrial element may haveasserted itself in the many interesting exhibits, no matter howextensive the appeal of the applied sciences may be, the final andlasting effect will be found in the great and enduring lesson of beautywhich the Exposition so unforgetably teaches. 

The visitor is at once stirred by the many manifestations of art, presented so harmoniously by the architect, the sculptor, the landscapearchitect, and the painter-decorator, and his attention is keptthroughout by artistic appeals at every turn. It must be said in thevery start that few will realize what is the simple truth - thatartistically this is probably the most successful exposition evercreated. It may indeed prove the last. Large international expositionsare becoming a thing of the past on account of the tremendous cost forrelatively temporary purposes. 

There is still much of the popular conception abroad that the West hasonly very recently emerged from a state of semi-civilization inimical tothe finer things of life, and to art in particular. But we may restassured that the fortunate outsider who allows himself the luxury oftravel will proclaim that the gospel of beauty has been preached mosteloquently through the Panama-Pacific International Exposition. 

The critic who prefers to condemn things will find small opportunityhere, no matter how seriously he may take himself. 

The first sight of that great mosaic, from the Fillmore-street hill, atonce creates a nerve-soothing impression most uncommon in internationalexpositions, and for that matter, in any architectural aggregate. One isat once struck with the fitness of the location and of the scheme ofarchitecture. Personally, I am greatly impressed with the architecturalscheme and the consistency of its application to the whole. I fear thatthe two men, Mr. Willis Polk and Mr. Edward Bennett, who laid thefoundation for the plan, will never receive as much credit as is reallydue them. I hope this appreciation may serve that purpose in some smallway. 

It was a typically big western idea, an idea that as a rule never getsany farther than being thought of, or possibly seeing daylight as an"esquisse" - but seldom any farther than that. The Burnham plan for SanFrancisco was such an unrealized dream, but here the dream has achievedconcrete form. The buildings as a group have all the big essentialqualities that art possesses only in its noblest expression. Symmetry, balance, and harmony work together for a wonderful expression of unity, of oneness, that buildings devoted to profane purposes seldom show. 

I do not know how many people who visit the Exposition are soconstituted as to derive an aesthetic thrill from artistic balance, butI imagine that any person, no matter how inexperienced in matters ofart, will rejoice at the fine feeling of orderly arrangement of majorforms which runs through the entire grouping. It is simplicity itself, and it serves an excellent practical purpose, enabling one to visit theExposition without being left a nervous wreck at the end. 

The main entrance leads one into the physical center of the Exposition. From there, on the first visit, one realizes the existence of an equallylarge area on either side, covered with objects of interest. 

The main exposition, composed of a compactly arranged group of largebuildings of approximately equal size, is symmetrically placed on eitherside of the main central court, the Court of the Universe. This sendsout its avenues into two equally proportioned side courts - the Court ofthe Four Seasons on the west and the Court of Abundance on the east. While the main court rests right in the center of the eight buildings, the side courts fit snugly into the center of the four buildings oneither side. This arrangement of large masses, comprising the bulk ofthe Exposition, creates a grateful feeling of repose and of order, without being in the least uninteresting, for while there is perfectsymmetry, on the one hand, in the larger masses, there is plenty andever changing variety in the minor architectural forms andembellishments. The same balance, the same interesting distribution ofarchitectural masses, continues on either side of the main building. InMachinery Hall, on the one hand, and the Fine Arts Palace on the westernside, perfect balance is again maintained. That is, however, not the endof it all. Loosening up in a very subtle way, we find cleverly arrangedthe buildings of the various States of the Union and of Foreign Nationson the western side of the Fine Arts Palace, while at the otherextremity of the main group, screened by Machinery Hall, is theamusement section, officially labeled "The Zone. "

I do not suspect that the Zone is intended to give any artistic thrills. If so, I would propose to call it "The Limit, " and so I drop it as asubject for further artistic, reference. It is invaluable, however, asan object lesson in showing the fatal results of the utter disregard ofall those fundamental laws of balance, harmony, and unity so uniformlyand persistently applied through the seriously designed main body of theExposition. There is no harmony whatever in the Zone anywhere, either inthe form, style, or color, unless it be the harmony of ugliness which iscarried through this riotous mêlée of flimsiness and sham. I cannot helpbut feel that this hodgepodge will convince the most doubting Thomas whomight believe in the mob rule of hundreds of conflicting tastes. TheZone is not an improvement on similar things in former Expositions. Savefor certain minor exceptions at the entrance, it will serve as awonderfully effective illustration of the taste of the great masses ofthe people, and as a fine business investment. 

So far, we have moved only along the east and west axis of theExposition. The north and south development is not without its charm. The terraced city of San Francisco, on the south, without a doubt looksbest on a densely foggy day. With its fussy, incongruous buildings - Ihesitate to call them architecture - it serves hardly as a backgroundfor anything, let alone a group of monumental buildings. The oppositeside, where nature reigns, atones for multitudes of sins that mancommitted on the city's hills. But how great an opportunity there waslost! There are, however, some indications at the western end ofBroadway that give fine promise for the future. 

The bay and its background of rising hills and blue mountain sidesprovide, the wonderful setting that so charmingly holds the Exposition. The general arrangement of the Exposition pays its respects to the bayat every possible angle. The vistas from the three courts towards thebay are the pièces de résistance of the whole thing. It was a fine idea, not alone from an economic point of view, to eliminate the two archeswhich appeared in the original plan at the end of the avenues runningnorth from the Court of the Four Seasons and the Court of Abundance. There is hardly anything more inspiring than to stand in any of thethree courts and to look north through those well proportionedcolonnades over the blue bay towards the purple foothills of MarinCounty, crowned by the graceful slopes of Mount Tamalpais on one sideand the many islands of the bay on the other. It is surprising into howmany enchanting vistas the whole arrangement resolves itself. For thecity-planner the Exposition contains a wonderful lesson. What finecities we might have if some artistic control could be exercised overthe buildings which are to stand opposite the junction of one streetwith another, not only at right angles, but also at lesser degrees - forinstance, in all cases of streets running into Market street from thenorthwest. 

To point out some particularly fine vistas, among many, we shouldmention that from the Orchestral Niche in the Court of the Four Seasons, looking toward the bay, or from the same court toward the Fine ArtsPalace - and many more. The natural background seems to have beenconsidered always, even in the arrangements of the smallest apertures. One should not overlook the two open courts which run off the mainavenue, like charming coves in an island, into the main group ofbuildings, connecting at their ends with the Court of the Four Seasonsat the west and the Court of Abundance toward the east. These two, theCourt of Palms and the Court of Flowers, have not so much the charm ofseclusion of the more centrally located courts, but their architecturemakes them of great interest. 

As to the style of the architecture of the main group of eightbuildings, it has been called classic. If one means by that somethingexcellent, something in good taste, we must admit that it is classicindeed. However, on closer examination it becomes very evident that theindividuality of many men has found expression in the architecturalstructural forms, as well as in the minor and decorative forms. 

The main Tower of Jewels, by Carrère and Hastings, marking the center ofthe whole scheme, has a distinct character of its own. There is no doubtthat it is effective, but while its chief merit lies in its colossalproportions and its relative position, I feel that it lacks that onenessof conception that characterizes almost every other architectural unitin the Exposition. One feels too much the stacking up of story afterstory, that effort to fill the requirements of a given great height, very much as a boy sets up blocks of diminishing size, one on top of theother, until he can go no further because there are no smaller blocks. The whole effect of the tower is too static. Of its architecturalmotives, almost too many seem devoid of much interest, and like thecolumn motive, repeated too often. The very effective and decorativeemployment of "jewels" tends to loosen up and enliven the structure verymuch. On a sunny day the effect is dazzling and joyous. The tower has afeeling of dignity and grandeur, commensurate with its scale andsetting. However, its great height is not apparent, owing largely to itsbreadth of base. The Sather Campanile in Berkeley looks higher, thoughit is actually one hundred and thirty-three feet lower. The side towersat the entrances of the Court of Palms and the Court of Flowers, whilenot so imaginative as the main tower, are far more sky-reaching. Astowers go, John Galen Howard's tower at the Buffalo Exposition in 1901stands unsurpassed in every way as an Exposition tower. 

The main Court of Honor, or Court of the Universe, as it is also called, designed by McKim, Mead and White, impresses by its tremendousdimensions, which operate somewhat against its proper enjoyment. Ibelieve that the court is too large - so many things are lost in it, andit does not convey the quality of shelter that the two lesser courtspossess in such marked degree. The Court of the Universe will never bethe resting place of the masses of the people, in spite of the recentlyadded attraction of the band stand, a mixture of Roman and Arabicarchitecture out of keeping with the surroundings. The conventionalarchitectural motives of this great court do not help very much intempting one to stay, and if it were not for the great arches on theeast and west and the very fine view toward the Column of Progress, Iwould feel tempted to classify it as a piece of architectural design ofthe stereotyped variety. It has all the great qualities and faults ofthe court in front of St. Peter's in Rome. There is too little play oflandscape gardening in and near the Court of the Universe, a conditionwhich will remedy itself with the breaking into bloom of the greatmasses of rhododendron which have been installed in the sunken garden inthe center. 

Like all careful interpretations in the classic architecturaltraditions, the Court of the Universe has a great feeling of dignity andgrandeur, which gives the visitor a feeling of the big scale of the restof the architecture. The court lacks, however, the individual note ofthe two side courts. 

Toward the west, passing through a very characteristic avenue, in thestyle of the happiest phases of the Italian Renaissance to be found inFlorence, one enters the Court of the Four Seasons, by Henry Bacon ofNew York. The chief quality of this court is that of intimacy. While byno means so original as the Court of Abundance, it has a charm all ofits own, in spite of its conventional architectural characteristics, which are really not different from those of the main Court of Honor. However, a very happy combination of gardening effects and architecture, together with the interesting wall-fountains, screened by stately rowsof columns, make for a picture of great loveliness. Of all the courts, it has the most inviting feeling of seclusion. The plain body of waterin the center, without statuary of any kind, is most effective as amirror reflecting the play of lights and shadows, which are so importantan asset in this enchanting retreat. During the Exposition it will serveas a recreation center for many people who will linger in the seclusionof the groups of shrubbery and watch the shadows of the afternoon suncreep slowly up the surrounding walls. 

As an Exposition feature, the Court of the Four Seasons is a decidedinnovation. At St. Louis, for instance, in 1904, everything seemed tohave been done to excite, to overstimulate, to develop a craving forsomething new, to make one look for the next thing. Here, in the Courtof the Four Seasons, one wants to stay. Most emphatically one wants torest for awhile and give one's self over entirely to that feeling ofliberation that one experiences in a church, in the forest, or out onthe ocean. I could stay in this court forever. To wander into this Courtof the Four Seasons from any one of the many approaches is equallysatisfactory, and it will prove a very popular and successful Expositioninnovation. 

Speaking of the courts, one is bound to yield to the individual note ofLouis Mullgardt's Court of Abundance, on the east of the Court of theUniverse. Of all the courts it has, without a doubt, the strongestindividual note. It seems on first acquaintance to be reminiscent of theGothic, of which it has, no doubt, the quality of lightness, thelaciness, and the play of many fine apertures and openings. It has, however, neither the Gothic arch nor the buttresses of that period, andso far as its ground plan goes, it is thoroughly original. It looks asif carved out of a solid block of stone. This monolithic quality isparticularly well brought out in the tower on the north. While not quiteso intimate as the Court of the Four Seasons, it conveys, a feeling ofshelter and seclusion very well by showing an uninterrupted wall motiveon all sides. The sculpture symbolism of this court is particularlyfine. We shall return to it in a consideration of sculpture. 

The two minor courts by George Kelham are particularly fortunate intheir open location toward the south. Their sheltered and warmatmosphere is quite in keeping with the suggestion of SpanishRenaissance which has been employed in the constructive and in the manydecorative motives. The western court, or Court of Palms, is madeparticularly attractive by a sunken garden effect and pool. The effectof the Court of Flowers is similar in every way to its mate on the east. 

A consideration of these two courts, with their towers, leads easilyinto a study of the outer façade, which, so to speak, ties all of theeight Palaces together into a compact, snug arrangement, so typical ofthe Exposition. 

Bliss and Faville of San Francisco are responsible for the very skillfuluse of simple, plain surfaces, accentuated and relieved here and thereby ornate doorways, wall-fountains, niches, and half-domes. On thesouth, along the Avenue of Palms, are found some very fine adaptationsof old Spanish doorways, which deserve to be preserved. It isregrettable that we have no large museum on the coast where these finedoorways in the outer walls of the Palace of Varied Industries could bepreserved permanently. The travertine marble has nowhere been used moreeffectively than in just such details. The entrance of the Palace ofEducation at the western end of the south façade is also of great beautyof design. 

On the western end two huge niches or half domes command attention bytheir noble beauty and fine setting amidst great clumps of eucalyptus. On the north, no special effort has been made. There is, however, adecorative emphasis of the doorways along the entire front. On the east, facing the Palace of Machinery, some very fine doorways, very much likesome of the minor ones on the south, furnish the decoration. It was nosmall task to bridge the many diversified architectural motives whichpenetrate into the outer wall from within, in the shape of many avenuesand courts, and one can appreciate the difficulties of the designer whomet so well these conflicting requirements. 

Of the detached palaces outside of the eight forming the rectangularblock nucleus, the Palace of Machinery attracts by its enormous size. Iam not interested in how many kegs of nails and iron bolts and washerswent into its anatomy. They add nothing to the artistic enjoyment ofthis very massive building. One point, however, in connection with theliberal use of the raw material is of artistic significance, and that isthat the internal structural aspects of this great palace, as well as ofthe others, are not without charm and interest. It is only in recentyears, and particularly in America, that the engineer has dared toinvade the realm of the artist by attempting to make the constructive, anatomical material, like uprights, bracings, trusses, and beams, assumeartistic responsibilities. It has been for many years the custom toexpect the engineer to do his share in obscurity with the idea that itultimately will be covered up by the work of the architect. Theextraordinary development of engineering in this country, to meet newand original problems, sometimes of colossal proportions, particularlyin the field of concrete design, has resulted in some conditionsheretofore entirely unknown. I feel with much satisfaction that theunobscured appearance of the wood construction in the Palace ofMachinery is very pleasing, owing to its sound constructive elements, aswell as to a very fine regard for pattern-making in the placing of thebolts and braces. Here we discover the engineer in the role of theartist, which he seems to enjoy, and which offers endless newopportunities, particularly in the field of concrete construction, aswell as in wood. The great size of the Machinery Palace is much moreenjoyable from within, on account of the constructive patterns left inthe raw, than from without, where there is not enough animation in themany plain surfaces of the outer walls. I do not know that it iscustomary to put the engineer's name, together with that of thearchitect, on a building; the time s approaching very rapidly when weshall be in duty bound to do so. 

Aside from the structural charm of the inside, the outer façade ofMachinery Hall is not entirely devoid of architectural interest. Itsgeneral forms are apparently those of an early Christian church, although its decorative motives are all indicative of the profanepurposes for which it is used. 

Festival Hall, by Farquhar, of Los Angeles, at the east end of the southgardens, does not look particularly festive, and it is not originalenough to shine by itself, like its very happy mate at the south end, the Horticultural Palace. There is nothing like this HorticulturalPalace anywhere on the grounds in its gorgeous richness of decorativeadornment. It has no relation to any other building on the site. It isvery happy, with its many joyous garlands, flower-baskets, andsuggestions of horticultural forms - all very well done - so very muchbetter done than so many of the cheap period imitations so common to ourresidence districts. It is so decidedly joyous in character that peoplelooking for Festival Hall wander over to the Horticultural Palace, attracted by the very joyousness of its scheme. 

Good rococo ornamentation is rare abroad and even rarer in this country, which is essentially opposed in its tendencies and in its civilizationto those luxurious days of the French kings who created the conditionsunder which this very delightful style could flourish. 

The Horticultural Palace is a great success as an interpretation of astyle which rarely finds a sympathetic expression in this country. I donot feel at all that it ought, but in a case of this kind where atemporary purpose existed, it was happily chosen. 

Of all isolated units, none causes greater admiration than the Fine ArtsPalace. It presents the astounding spectacle of a building whichviolates the architectural conventions on more than one occasion, and inspite of it, or possibly for that very reason, it has a note oforiginality that is most conspicuous. Everybody admits that it is mostbeautiful, and very few seem to know just how this was accomplished. Many of the "small fry" of the architectural profession enjoy themselvesin picking out its faults, which are really, as suggested above, thereason for its supreme beauty. Save for Mullgardt's court, it is theonly building that seems to be based on the realization of a dream of atrue artistic conception. With many other of the buildings one feels theprocess of their creation in the time-honored, pedantic way. They arepaper-designed by the mechanical application of the "T" square and thetriangle. They do not show the advantage of having been experienced as avision. 

With Bernard Maybeck's Palace of Fine Arts, one has the feeling thatthis great temple is a realized dream; that it was imagined irrespectiveof time, cost, or demand. Like all of Maybeck's buildings, it isthoroughly original. Of course the setting contributes much to thepicturesque effect, but aside from that, the colonnades and theoctagonal dome in the center of the semicircular embracing form of themain building present many interesting features There is a very finedevelopment of vistas, which are so provided as to present differentparts of the building in many ever-changing aspects. On entering theouter colonnade one forgets the proximity of everyday things; one isimmediately in an atmosphere of religious devotion, which finds itsnoblest expression in that delicate shrine of worship, by RalphStackpole, beneath the dome. This spiritual quality puts the visitorinto the proper frame of mind for the enjoyment of the other offeringsof art within the building. Mr. Maybeck has demonstrated once again thathis talent is equal to any task in the field of architectural art. Iwish we had more of his rare kind and more people to do justice to hisgenius. 

Not far from the Palace of Fine Arts, on the shores of the bay, themonumental tower of the California building fits well into the scheme ofthings. Seen from a distance, from numerous points across the lagoon, itoffers a great many effective compositions in connection with some verydecorative groups of old acacia trees, the legacy of an old amusementpark of the bygone days of San Francisco - the old Harbor View Gardens. In the shade of these old trees a fine old formal garden of exquisitecharm, screened from the eyes of the intruder by an old clipped Montereycypress hedge, really constitutes the unique note of this typicallyMission building. The architect, Mr. Burditt, deserves great credit foran unusually respectful treatment of a very fine architectural asset. This very enchanting old flower garden, with its sundial and cozy nooks, has an intimate feeling throughout, and it furnishes the delightfulsuggestive note of old age, of historical interest, without which itwould never have been convincing. 

Aside from the outdoor features, the building, exclusive of the countyannex, discloses a very fine talent in a very happy combination ofclassic tradition and modern tendencies. The building is altogether verysuccessful, in a style which is so much made use of but which is reallydevoid of any distinct artistic merit. Most of the examples of theso-called "Mission style" in California are very uninteresting in theirdecorative motives, however big their ground plans may be in theirliberal use of space. 

The Oregon building is just across the way from the California building, and as an object of artistic analysis it is a most interesting singleunit. Personally, I am not enthusiastic over it. It was most decidedly avery illogical idea to select a building to represent Oregon from acountry which has nothing whatever in common with this northern state. One could hardly discover a more arid country, devoid of vegetation, particularly of trees, than Greece; and to compare it with theapparently inexhaustible wealth of virgin forests of Oregon makes thecontrast almost grotesque. Besides, a building like the Parthenon, designed to grace and terminate the top of a hill, is surely not adaptedfor a flat piece of ground like the Exposition field. And in the choiceof material used in its construction it shows a lack of appreciation forthe fitness of things generally. The Parthenon was designed to be madein stone, as much for the construction as for the light color effect ofthe marble. Only the light color play of its exterior would do against aplacid blue sky to relieve the otherwise exceedingly simple rigidity ofits massive forms of construction. To make an imitation of this greatbuilding in uncouth, somber, almost black pine logs of dubiousproportions is hardly an artistically inspired accomplishment. 

There must always be a certain regard for the use of the right materialin the right place. A wooden bridge will disclose its material even tothe uninitiated at a very great distance, because everybody knows thatcertain things can be done only in wood. A stone, concrete, iron, orcable bridge, for example, will each always look its part, out of sheermaterial and structural necessity. A log house would have been farbetter and more successful than this pseudo Parthenon. It is in the sameclass with the statues of Liberty made from walnuts that are the greatattractions in our autumnal agricultural shows. The State of Oregon, however, is well represented by a fine immense flagpole, which couldhardly have been cut anywhere else than on the Pacific Coast. 

Of other state buildings in this neighborhood, a number are impressiveby their cost, like the New York building; others, again, by historicalsuggestions of great charm. There are several which reflect in a veryinteresting way the Colonial days of early American history; andbuildings like those of New Jersey and Virginia, in spite of theirunpretentiousness, are very successful. Nobody would take them foranything else but what they represent. 

The Pennsylvania building shows a very fine combination of the classicand of the modern. It was originally designed to hold the Liberty Bell. In order to avoid the necessity of building a fireproof building, theopen hail was adopted, with its inviting spaciousness, and two lowerenclosing wings at the side. The arrangement of the Pennsylvaniabuilding is formal, owing to its symmetry, but not at all heavy. Itsdecorative detail is full of interest, and to discover Hornbostel of NewYork, the designer of the Oakland City Hall, as the author of thisbuilding, is a pleasant surprise. 

Of most of the other state buildings, really nothing original could beclaimed. They are, on the whole, dignified in their classic motives, andin most cases, in better taste than the many foreign buildings. 

Among these, the buildings representing Sweden, Denmark, Norway, Italy, and Bolivia, must claim particular attention. It must seem strange thatthe three northern countries named first should excel in originality ofarchitecture, as well as in the allied arts. 

The Swedish building, designed by Ferdinand Boberg, presents admirablyhis great talent. The name "Boberg" means nothing to most people outhere, but anybody at all familiar with the development of modernarchitecture abroad will always think of Boberg as the greatest livingmaster of Swedish architecture. His very talented wife, Anna Boberg, isequally well represented in another department, that of the Fine Arts. 

The plan of the Swedish building is unsymmetrical, but well balanced, nevertheless. The typical northern wood tower, at one side, has a veryfine outline, and like the roof, has a very fine decorative shinglecovering, interesting in pattern as well as in color. I am very muchtempted to speak of the treasures found inside of this building, but wemust go on to Denmark's building. 

This building, situated near the southern end of the Fine ArtsColonnade, has a far more advantageous location than the Swedishbuilding. Situated on a narrow tongue of triangular shape, the architecthas taken the fullest advantage of this original piece of ground. Thebuilding gives a very good idea of some of the very best tendencies inthe modern art of Europe, without being bizarre, like some recentAmerican attempts, in the most wrongly labeled of all art expressions -the "Art Nouveau. "

The Norwegian building, somewhat remotely situated, back of the Frenchbuilding and near the Presidio entrance, has very much in common withthe Swedish building, and offers the same attractive features of woodand stone construction as the building representing its sister state. Historical traditions and everything else are so much alike in these twocountries that it must not surprise one to find the two buildings haveso many points of interest in common. 

The north of Europe has given to the world many very excellent andgenuine expressions of architecture, which, owing to their fineconstructive qualities, have been absorbed wherever wood is theprincipal building material. The art contributions of Sweden, Norway, and Denmark will long remain in the memory of all Exposition visitors. 

Holland makes considerable pretensions as to originality of style in acuriously incongruous creation at the north of the Fine Arts Palace. During the last twenty years a peculiarly inadaptable type of buildinghas been developed in Holland by a group of younger architects. Many ofthese buildings are suggestive of stone rather than of brickconstruction, and they do not fit in very well into the architecturaltraditions of the Dutch - builders traditionally of the finest brickstructures in the world. 

The Holland building at the Exposition is not typical of that great andindependent people. It looks cheap and has all the faults of the ArtNouveau, which has, unfortunately, been much discredited, by just suchthings in our own country, where classical traditions are so firmly andso persistently entrenched. 

While structurally this building is of a peculiar, affected, ultra-modern note, the general scheme of decoration inside as well asoutside compels much praise. The general feeling of refinement, ofserenity, that so strongly characterizes the interior is due to the ablework of Hermann Rosse, a capable decorator-painter, who designed andsupervised the entire color scheme. 

The color scheme inside the Holland building, while daring, is mostoriginal in using an unusual combination of steel-blue and warm greysilver tones. These two relatively cold notes are enhanced in acomplementary color sense by touches of orange and yellow. Aconstructive stencil pattern based on the two national plants ofHolland, the orange tree and the tulip, add richness to the generaleffect. Mr. Rosse's very decorative wall painting opposite the mainentrance represents the Industries of Peace. While somewhat severe, itadds dignity in motive as well as in treatment. 

On the outside some fine decorative tile panels reflect one of the chiefindustries of the Dutch and also tell of the influence that Dutch arthas long received from Holland's East Indian possessions. These tilepanels are very decorative. To us, out here, they suggest artisticceramic possibilities for architectural purposes of which we have takenlittle advantage. Considering the fact that we have quantities of goodclay and that so much original good decorative design is lying idle, this inactivity in architectural ceramics in California is distressing. So far as I know, Batchelder, in Pasadena, still has the monopoly onarchitectural tiles for the entire Pacific coast. 

Other European countries besides Holland are interestingly represented. The Italian building is a dignified building of pure FlorentineRenaissance lines, with here and there a modern note. 

This should rather be called a group of buildings, since it is acombination of some of the finest bits of Italian Renaissancearchitecture. The architects of this building succeeded admirably ingiving a feeling of antiquity to the general treatment of the wholearrangement, which, under the blue sky of California, brings onestraight back into the land of sunshine and artistic tradition. Thewhole arrangement of this Italian group seems somewhat bewildering atfirst, but on closer inspection resolves itself into a very interestingscheme which takes full advantage of the irregularly shaped site. 

There is a most impressive noble dignity in the hall of the mainbuilding, where mural decorations of figural character add much to thesumptuousness of the general effect. It is remarkable how in this age oflow ceilings a return to great height for rooms, as in these, Italianchambers, produces a marked note of originality. The light effectcreated in this way, in all of these replicas of the mansions of thewealthy of the Renaissance period, is most helpful in the display of amultitude of lovely objects - furniture, jewelry, ceramics, tapestries, and yet more. The sculptural imitations of so many old pieces ofstatuary are not in very good taste. They bear too much the traces ofthe pneumatic drill, and most of them are cold and devoid of the spiritof the original. Some of the very modern marbles in the various roomsare almost pathetic in their disregard for the standards established bythe forefathers of their creators. 

France, unfortunately, does not rise above the commonplace, in anextensive building hastily constructed. And Portugal is shining in allthe glory of wedding-cake ornamentation that the plaster of Paris artistcould produce. 

South America appears in a very typical building representing Bolivia. It is evident that it was not a costly building, but its dignifiedSpanish façade and the court effect inside are far more agreeable thanthe pretentious palace erected by the Argentine Republic. 

The Orient, with the oldest art traditions in the world, can justly beexpected to outdo the rest of the world. We find Japan again, as onprevious occasions, excelling in its typical arrangement of a number ofsmall pavilions in an irregular garden. The entire Japanese display, architectural and all, is so perfect a unit that one cannot speak of thebuildings alone without thinking of the gardens. The Japanese sense ofdetail and love of the picturesque are disclosed at every turn. We stillhave with us in San Francisco, as a memento of the Midwinter Fair of1894, the Japanese Garden in Golden Gate Park, and while this newcreation at the Exposition is not so extensive, it is none the lesscharming. 

In contrast to the Japanese wonderland near the Inside Inn, the newRepublic of China seems to be very unhappily represented, not very faraway. The whole Chinese ensemble seems a riot of terrible colors, devoidof all the mellow qualities of Oriental art. If China's art was retiredwith the Manchu dynasty, then I hope the new Republic will soon die anatural death. 

The Sculpture

The sculptural decorations of the Exposition are so much a part of thearchitectural scheme that their consideration must no longer be delayed. The employment of sculpture has been most judicious and has never lostsight of certain architectural requirements, so frequently overlooked. While there are a great many examples of sculptural decorations at theExposition, there does not seem to be that over-abundance ofornamentation so often confused by the public with artistic effect. 

The best compliment that can be paid to the Exposition sculpture is thatit is not evident at first and that one becomes aware of it only in thecourse of studying the architecture. I do not think that, with theexception of the Column of Progress and the groups of the Nations of theEast and of the West, the Exposition has produced, through its veryunusual and novel opportunities, any great work, or presented any newtalent heretofore not recognized; but it will most certainly stand acritical examination and comparison with other Exposition sculpture andnot suffer thereby. As a matter of fact, a number of the sculptors ofour Exposition were commissioned to do similar work at St. Louis. 

In one respect our Exposition must immediately claim originality - thatis, in the elimination of the glaring white, with its many ugly anddistracting reflected lights, insisted upon for years, in practicallyall the great expositions of the past. This absence of white is surely avery novel and very helpful feature, from an artistic point of view. TheTravertine staff material used, the highly successful work of Mr. PaulDenneville, with its innumerable fine accidental effects, so reminiscentof the tone and the weather-beaten qualities of really old surfaces, isan asset that the sculptors among all the collaborating artistsgratefully acknowledge. 

The artistic value of the Travertine lies in its beautiful expression ofarchitecture as well as of sculpture. A plain wall becomes a matter ofinterest and comfort. An ornamental feature or sculpture obtains awonderful charm and delicacy in this material which is particularlyunique in sculpture. The natural Travertine is a sedimentary depositdating back, it is claimed, to the glacial ages. That imitated hereforms the bed of the River Tiber near Rome and was extensively used forages in the early Roman and Greek era as a building stone for theirtemples and works of art. While a poor material in cold climates, because of its striation, it was always sought in Italy for itswonderful texture and tone. It was used in the Coliseum and in manyother buildings erected during the Roman period. 

It is evident that there has been a very happy and close co-operationbetween the architect and the sculptor - a desirable condition that, unfortunately, does not always exist. Architects will sometimes notallow the sculptor to give full expression to his ideas, will putunwarranted restrictions upon him, and the result is very one-sided. 

I had the pleasure of seeing much of the sculpture grow from the sketchto the finished full-scale work, and the kindliness and the vigorouspersonality of Mr. Stirling Calder added much charm and interest to thisexperience. Mr. Calder has been the director of the department ofsculpture and the inspiration of his own work penetrates that of all hisfellow-artists. Among them are many specialists, such as Frederick Roth, for instance, as a modeler of animals, who shows in the very fine figureof "The Alaskan" in the Nations of the West that he is not afraid norunable to model human figures. Practically all of the animals in thegrounds show the hand of Roth. 

Like Roth, Leo Lentelli did a good share of the task. His work ischaracterized by much animation and spirit, but well balanced wherevernecessary, by a feeling of wise restraint. I remember with much horrorsome of the sculptural atrocities of former expositions that seemed tojump off pedestals they were intended to inhabit for a much longerperiod than they were apparently willing. Repose and restraint, as arule, are lacking in much of our older American sculpture, as some ofour Market-street statuary testifies. It seems that our unsettledconditions find an echo in our art. It is much to be hoped that acertain craving for temporary excitement will be replaced by a wholesomeappreciation of those more enduring qualities of repose and balance. 

Calder's work, no matter how animated, no matter how full of action, isalways reposeful. His "Fountain of Energy" gives a good idea of what Imean. It is the first piece of detached sculpture that greets theExposition visitor. Its position at the main gate, in the South Gardens, in front of the Tower of Jewels, is the most prominent place theExposition offers. It is worthy of its maker's talent. Its main qualityis a very fine, stimulating expression of joyousness that puts thevisitor at once in a festive mood. The Fountain of Energy is a symbol ofthe vigor and daring of our mighty nation, which carried to a successfulending a gigantic task abandoned by another great republic. The wholecomposition is enjoyable for its many fine pieces of detail. Beginningat the base, one observes the huge bulks of fanciful sea-beasts, carrying on their backs figures representing the four principal oceansof the world: the North and South Arctic, the Atlantic, and the Pacific. Some are carrying shells and their attitudes express in unique fashion aspirit of life and energy which makes the whole fountain look dynamic, in contrast with the static Tower of Jewels. Everything else in thisfountain has the dynamic quality, from its other inhabitants of thelower bowls, those very jolly sea-nymphs, mermaids, or whatever one maywant to call them. They are even more fantastically, shaped than thelarger figures. In their bizarre motives some of the marine mounts looklike a cross between a submarine and a rockcod. 

Rising from the very center of the fountain basin, a huge sphere, supported by a writhing mass of aquatic beasts, continues the schemeupwards, culminating in the youth on horseback as the dominating figureof the whole scheme. The sphere is charmingly decorated with recliningfigures of the two hemispheres and with a great number of minorinteresting motives of marine origin. The youth on horseback is notexactly in harmony with the fountain; one feels that the aquatic feelingrunning through the rest of the fountain is not equally continued inthis exceedingly well-modeled horse and youth and those twosmaller-scaled figures on his shoulders - I feel that the very cleverhand of a most talented artist has not been well supported by a logicalidea. Their decorative effect is very marked, taken mainly as asilhouette from a distance. They are no doubt effective in carryingupwards a vertical movement which is to some extent interfered with bythe outstretched arms of the youth. Mr. Calder has given us so very manyexcellent things, alone and in collaboration with others throughout theExposition, that we must allow him this little bizarre note as aneccentricity of an otherwise well-balanced genius. 

As long as we are in the South Gardens, we might take the time toinvestigate the two fountains on either side of the center, towards theHorticultural Palace on the left and Festival Hall on the right. Therewe find a very lithe mermaid, used alike on either side, from a model byArthur Putnam. Many of us who for years looked forward to the greatopportunity of the Exposition, which would give Arthur Putnam a worthyfield for his great genius, will be disappointed to know that themermaid is his only contribution, and scarcely representative of hisoriginal way in dealing with animal forms. The untimely breakdown, sometwo years ago, of his robust nature prevented his giving himself moretypically, for his real spirit is merely suggested in this gracefulmermaid. 

Sherry Fry's figural compositions on the west of Festival Hall mightwell be worthy of a little more attention than their somewhat remotelocation brings them. The two reclining figures on the smaller domes arereposeful and ornate. A stroll through the flower carpets of the SouthGardens, amidst the many balustrade lighting Hermae, discloses a wealthof good architectural sculpture, which in its travertine execution isdoubly appealing. 

There are four equestrian statues in different places on the north sideof the Avenue of Palms. Two are in front of the Tower of Jewels, the"Cortez" by Charles Niehaus, and "Pizarro, " by Charles Cary Rumsey. Thethird is in front of the Court of Flowers, and the last at the entranceto the Court of Palms. The two latter, Solon Borglum's "Pioneer, " andJames Earl Fraser's "The End of the Trail, " belong as much together asthe two relatively conventional Spanish conquerors guarding the entranceto the Court of the Universe. 

The symbolism of the "Pioneer" and "The End of the Trail" is, first ofall, a very fine expression of the destinies of two great races soimportant in our historical development. The erect, energetic, powerfulman, head high, with a challenge in his face, looking out into earlymorning, is very typical of the white man and the victorious march ofhis civilization. His horse steps lightly, prancingly, and there isadmirable expression of physical vigor and hopeful expectation. The gunand axe on his arm are suggestive of his preparedness for any task theday and the future may bring. 

Contrast this picture of life with the overwhelming expression ofphysical fatigue, almost exhaustion, that Fraser gives to his Indian in"The End of the Trail. " It is embodied in rider and horse. Man andbeast seem both to have reached the end of their resources and both areready to give up the task they are not equal to meet. 

The psychology of this great group is particularly fine. It is in thingslike these that our American sculpture will yet find its highestexpression, rather than in the flamboyant type of technically skillfulwork so abundantly represented everywhere. "The End of the Trail" couldhave been placed more effectively in the midst of, or against, groups ofshrubbery in a more natural surrounding, where so close a physicalinspection as one is invited to in the present location would not bepossible. 

The Tower of Jewels, however, with its lofty arch and suggestion ofhidden things behind it encourages the spirit of investigation. Onentering this great arch, one is suddenly attracted by the pleasingsound of two fountains, sheltered in the secluded abutting walls of thegreat tower. Minor arches, piercing the base of the tower west and east, open up a view toward these sheltered niches, harboring on the right theFountain of Youth, by Mrs. Edith Woodman Burroughs, and the Fountain ofEldorado at the left, by Mrs. Harry Payne Whitney. These two fountainsare totally different in character, and they could well afford to be so, since they are not visible as a whole at the same time, althoughphysically not far apart. 

Mrs. Burrough's fountain is very naïve in feeling, very charming in thegraceful modeling of the little girl. The decorative scheme of thispoetic unit is very simple and well-sustained throughout itsarchitectural parts. 

Mrs. Harry Payne Whitney's fountain is of the intellectual, dramatickind. The treatment of this almost theatrical subject is well balanced. While it does not possess any too much repose, it is very effective. Ingeneral there are three parts to this fountain; the central doorway ofEldorado, just ajar, disclosing faintly this land of happiness; while oneither side are two long panels showing great masses of humanity in allmanner of positions and attitudes, all striving toward the common goal. Some are shown almost at the end of their journey, overtaken withexhaustion; others more vigorous are lending a willing arm to thesupport of their less successful brothers and sisters about to fall bythe wayside. The whole composition of those two friezes shows Mrs. Whitney as a very skillful and imaginative artist. It is a gratifyingspectacle to see a woman such as Mrs. Whitney, so much heralded, possibly against her own inclinations, in the society columns of NewYork, find the time to devote herself to so serious and professional apiece of work as the Fountain of Eldorado. 

Passing through the Tower of Jewels into the Court of the Universe, one's attention will be attracted to a number of pieces of detachedstatuary. The most important among them is "The Four Elements, " byRobert Aitken. We all remember Aitken as the very promising young manwho left us before the fire to make a career in the East, after havingexhausted all local possibilities, the Bohemian Club included. Hisfigures of the Four Elements are typical of his temperament and heacknowledges in them his indebtedness to Michael Angelo without being inthe least imitative. These four figures are allegorically full ofmeaning, and taken simply as sculpture, they are excellently modeled. His "Fire, " showing a Greek warrior defending himself from the fierybreath of a vicious reptile, is novel in its motive, while "Water"discloses Father Neptune bellowing out into the briny air, accompaniedby dolphins in rhythmic motions. "Air, " on the south, discloses Aitkenas the skillful modeler of less muscular forms of a winged femalefigure, which in itself, without the birds, is suggestive of itsmeaning. It was very daring to introduce the story of "Icarus" in thisgroup, by the small-scaled figure of this first mythological aviator onthe outside of the wings of the larger figure. It helps to add a note ofinterest to an otherwise not so interesting part of the group. 

The Fountains of the Rising and the Setting Sun are most impressive bytheir architectonic quality, and Weinman's clear style of modeling isseen at its best in the Tritons in the fountain bowl. The figure of theSetting Sun is one of the finest figures of the entire Exposition. Thesuggestion of the termination of day, indicated in the folding of thewings and in the suggestion of physical fatigue, is very well conveyed. A fine relaxation runs through the whole figure. 

The Rising Sun, on the other side, has all the buoyancy of an energeticyouth ready for his daily task. With widespread wings, looking squarelyout into the world, he seems ready to soar into the firmament. Thecontrast is admirable in these two figures, and Weinman deserves all thepopular applause bestowed upon his work. 

Paul Manship has contributed two groups at the head of the east and weststeps leading to the sunken gardens, each group consisting of twofigures, one representing Festivity, the other, Art and Music. Thesegroups are used alike on either side. Manship deserves to be betterrepresented in the Exposition than by these two groups alone. Hisposition as one of the very successful of our younger men would havewarranted a more extensive employment of his very strong talent. 

It is rather a flight from those Manship figures to the colossal groupsof the Nations of the East and of the West, but one is irresistiblydrawn to these wonderfully effective compositions. Their location makesthem the most prominent groups in the Exposition ensemble. 

The harmonious co-operation of Calder, Roth, and Lentelli has resultedin the creation of a modern substitute for the old Roman quadriga, whichso generally crowns triumphal arches. Both groups are so skillfullycomposed as to have a similar silhouette against the blue sky, butindividually considered they are full, of a great variety of detail. Itwas an accomplishment to balance the huge bulk of an elephant by aprairie schooner on the opposite side of the court. Considering thealmost painful simplicity of the costumes and general detail of thewestern nations as contrasted with the elaborately decorativeaccessories, trappings, and tinsel of the Orient, it was no small taskto produce a feeling of balance between these two foreign motives. Butwhat it lacked in that regard was made up by allegorical figures, likethose on top of the prairie schooner, used not so much to express anidea as to fill out the space occupied by the howdah on the other side. There is a great deal of fine modeling in the individual figures onhorse and camel back and on foot. 

In either one of the two groups much has been lost in the great heightof the arches. Figures like "The Alaskan, " "The Trapper, " and "TheIndian, " for instance, are particularly fine and they would be veryeffective by themselves. "The Mother of Tomorrow" in the Nations of theWest is a beautifully simple piece of sculpture. 

The Nations of the East, like the West, in its entirety, is theconception of A. Stirling Calder, who modeled the pedestrian figures. With Mr. Calder, Messrs. Frederick G. R. Roth and Leo Lentellicollaborated. The huge elephant in the center of the group was modeledby Mr. Roth, also the camels. The mounted horsemen were modeled by LeoLentelli. From left to right the figures are - an Arab warrior, a Negroservitor bearing baskets of fruit, a camel and rider (the Egyptian), afalconer, an elephant with a howdah containing a figure embodying thespirit of the East, attended by Oriental mystics representing India, aBuddhist Lama bearing his emblem of authority, a camel and rider(Mahometan), a Negro servitor, and a Mongolian warrior. The size of thegroup, crowning a triumphal arch one hundred and sixty feet in height, may be inferred from the fact that the figure of the Negro servitor isthirteen feet six inches in height. 

On the arch beneath this group are inscribed these lines by Kalidasa:"The moon sinks yonder in the west, while in the east the glorious sunbehind the herald dawn appears. Thus rise and set in constant changethose shining orbs and regulate the very life of this our world. "

The Nations of the West, crowning the arch of the Setting Sun, is alsothe conception of A. Stirling Calder, who modeled the imaginativefigures of "the Mother of Tomorrow, " "Enterprise, " and "Hopes of theFuture. "' Messrs. Leo Lentelli and Frederick G. R. Roth collaborated intheir happiest style, the former producing the four horsemen and onepedestrian, the Squaw, and the latter the oxen, the wagon, and the threepedestrians. From left to right the figures are, the French Trapper, theAlaskan, the Latin-American, the German, the Hopes of the Future (awhite boy and a Negro, riding on a wagon), Enterprise, the Mother ofTomorrow, the Italian, the Anglo-American, the Squaw, the AmericanIndian. The group is is conceived in the same large monumental style asthe Nations of the East. The types of those colonizing nations that atone time or place or another have left their stamp on our country havebeen selected to form the composition. 

The following lines by Walt Whitman are inscribed on the arch beneaththe group of the Nations of the West: "Facing west from California'sshores, inquiring, tireless, seeking what is yet unfound, I a child, very old, over waves towards the house of maternity, the land ofmigrations, look afar: look off the shores of my western sea, the circlealmost circled. "

It is popularly conceded that these two groups are magnificently daringconceptions, richly worked out. They are probably the largest groups ofthe kind ever made, the dimensions of the base being fifty-two bythirty-eight feet, and the height forty-two feet. 

Looking seaward from the Court of the Universe the Column of Progresscommands attention, crowned by the "Adventurous Bowman" and decorated atthe base with a frieze symbolizing achievement, or progress. The veryfine symbolism in this column deserves to be studied. The position ofthe column itself is most artistic in its relation to the surroundings. It is too bad, however, to see the view from the main court toward thecolumn spoiled by a music pavilion of dubious architectural merit. Theeffect of the column as seen from any point is inspiring in itsmonumental grandeur. The group on top, the Bowman, represents man'ssupreme effort in life. He is supported on the left by his fellow-man, adding strength and steadiness to his aim, while on the right thecrouching figure of a woman watches anxiously the sureness of his aim. She holds ready in her hand the laurel wreath which she confidentlyfeels will be his just reward. 

The great Column of Progress is the first column in the world, so far asI know, whose design was inspired by a purely imaginative motive, andthe first sculpture column at any exposition. It must be considered themost splendid expression of sculpture and architectural art in theExposition. Mr. Calder may justly feel proud of this great idea and Mr. Hermon MacNeil has added new laurels to his many accomplishments in thefree modeling of the very daring group on top. 

The column itself is decorated with the spiral ascending motive of theShip of Life, while at the base Isadore Konti expresses the striving forachievement in four well modeled panels of huge scale, representinghuman life in its progressive stages, showing men and women in attitudesof hope and despair, of strength and weakness, in the never ending taskof trying to realize human destiny. 

The Court of the Four Seasons harbors four groups by Piccirilli, representing the seasons in the conventional way, dividing the year intofour distinct parts - spring, summer, autumn, and winter. These fourgroups of Piccirilli are not equally successful. By far the mosteffective is the one representing winter. The severe rigidity of thelovely central standing figure expresses well that feeling of suspendedactivity which we associate with the conventional conceptions of theseason of dormant life. The kneeling side figures are in full harmony ofexpression with the central figure. They support very well the generalscheme. 

The next best, to my mind, seems "Spring, " on account of the very finepsychological quality of the standing figure in giving expression in avery graceful fashion to that invigorating and reviving quality of ourloveliest season. The two side figures seem to be gradually awakening tothe full development of their powers. 

Next to "Spring, " "Fall, " by the fullness of the decorative scheme, suggests Peace and Plenty in the preparation for the Harvest Festivaland in the touch of family life of the mother and child on the right. 

Mr. Piccirilli's naturalistic modeling does not express itself so wellin "Summer. " There is so little strictly architectural feeling in thatgroup. I think that Albert Jaegers, with his two single figures on topof the two columns flanking the Orchestral Niche, actually representsour own two seasons much more successfully than does Piccirilli. Jaegers' "Rain and Sunshine" should be used to name the court properly -"The Court of the Two Seasons, " as we know them in California - the dryseason, the season of harvest; and the wet season, the one ofrecuperation. I regret that here an opportunity was lost to adddistinction to the many different features of a great undertaking. 

Jaegers has contributed also the figure of "Nature" on top of the musicniche and the capital bulls on the pylons toward the north of the court. These terra cotta bulls are surely worthy of the adjective derived fromthem. Their relative size is very good, and to see them in the richnessof their color against the upper regions of a dark blue sky is veryeffective. 

Directly north of the Court of the Four Seasons stands Miss BeatriceEvelyn Longman's Fountain of Ceres, originally planned for the center ofthe court, but so very effective all by itself between the dignifiedcolonnades of the avenue. The fountain is most impressive by its finearchitectural feeling, so uncommon in the work of many women sculptors. The general feeling of it is refinement, combined with great strength. It is fully deserving of monopolizing a fine setting of dignifiedarchitecture, so richly emphasized by some of the finest old yew treesin the grounds. 

In the Court of Abundance a riot of interesting architectural sculpturaldetails invites the attention of the visitor. Beginning with the loweranimal forms, such as crabs and crayfish, etc. , the entire evolution ofNature has been symbolized, reaching its climax in the tower, where thescheme is continued in several groups in Chester Beach's best style. Thelowest of these groups shows the Primitive Age, followed above by theMiddle Ages and Modernity. The great charm of this finest of all thetowers in the Exposition is its wonderful rhythmic feeling. The gracefulflow of line from the base toward the top is never interrupted, in spiteof the many sculptural adornments used on all sides. In front of thetower are two very ornate illuminating shafts, showing Leo Lentelli'sdiabolical cleverness in making ornament out of human figures. LeoLentelli's style is particularly well adapted to Mullgardt's Court ofAbundance. Its care-free, subtle quality, full of animation, presentingnew motives at every turn, is most helpful in the general spirit offestivity which characterizes this most interesting of all the courts. 

Aitken's Fountain of Life in the center of the court is totallydifferent. Full of intellectual suggestion, it is almost bewildering inthe storytelling quality of its many details. Aitken's fountain, whichis situated in the center of a basin a hundred and fifty feet long bysixty-five feet wide, rises directly from the water. The main structureconsists of a series of four groups of heroic-sized figures, carved inpierced relief, each flanked by colossal bronze Hermes, their armsreaching around the structure and held together by animal forms ofreptilian or fishy origin. All these forms and figures surround a globeof enormous size, typifying the Earth, over the surface of which streamsof water are thrown from the reptilian chain motive. 

Leading up to the main structure is a group of ten crouching figures, symbolizing Destiny in the shape of two enormous arms and hands, givinglife with one and taking it with the other. Here, on the left side, arearranged figures suggesting the Dawn of Life, while on the right are menand women depicting the fullness and the end of existence. 

In the first, Prenatal Sleep, is the crouched form of a woman, whilesuccessively come the Awakening, the Ecstatic Joy of Being - or it maybe the Realization of Living; the Kiss of Life, with the human pairoffering up their children, representative of the beginnings offecundity; a female, strong of limb and superb of physique, enfolds inher arms two infants, while her mate, of no less powerful build and rudeforce, kneeling beside her, gives her an embrace typical of theoverpowering parental instinct. Here is the suggestion of the elementalfeelings, the beginnings of things. 

Between the first group and the central one comes a gap, a space typicalof that unknown time in history when conjecture alone permitsspeculation, and the story is taken up again with the first of thecentral groups, wherein stands a figure of Vanity, glass in hand, symbolizing the compelling motive of so much in human endeavor. To herleft, in enormous contrast, are primitive man and woman, treated withgreat realism, these two carrying their burdens of life, in the form oftheir progeny, into the unknown future, their expression that of rudebut questioning courage, the man splendid in his virility, superb in theattitude of his awkward strength, ready to meet whatever be the call ofearth. His mate meanwhile suggests the overwhelming and eternalinstincts of motherhood. 

An archaic Hermes, dividing these figures from the next group, allowsfor a space of time to elapse, and we come to their children, now grownto manhood and womanhood, in their rude strength finding themselves, with the result of Natural Selection. This is a group of fivepersonages, the center figure a man of splendid youth and vigor, suggesting the high state both of physical and intellectual perfection, unconsciously attracting the female, two of whom regard him with favor, while two males on either side, deserted for this finer type, give ventto deep regret, despair, and anger. One attempts by brute force to holdthe woman; the other reluctantly gives up his choice, in the obviousfutility of his unequal intellectual endowment to comprehend. 

From this to the Survival of the Fittest we have a militant group, inwhich physical strength begins to play its part, and perhaps disclosesthe first awakening of the war spirit, the woman in this case being theexciting cause. The powerful chieftains struggle for supremacy of theirtime and tribe, their women making futile efforts to separate them. Herethe sense of conquest receives its first impression and is finelyindicated, with admirable action, while there is the symbolism of theconflict of the nations that has ever gone on, for one cause or another, and that struggle for the female which has ever been the actuatingmotive in war, conquest, and, for that matter, peace. 

The next group - always separated by the solemn and dignified Hermae -discloses "The Lesson of Life, " wherein the elders, with the experienceof the years, offer to hot-headed youth and to the lovelorn the benefitof their own trials and struggles. A beautiful woman is the centralfigure. She draws to her side splendid manhood, the Warrior, willing tofight for his love and his faith. To his left his mother offers him heraffectionate advice, while to the right a father restrains a waywardoffspring who, rejected by the female, is in a state of frenziedjealousy. Finally two figures represent Lust, a man struggling to caressthe unwilling woman who shrinks from his embraces, and we are led downfrom this pair out of the composition to the crouching group at theapproach of the structure, referred to at the beginning of thisdescription, who here are departing from the central composition. 

First is a figure of Greed looking back on the Earth. He holds in hishands a mass suggestive of his futile and unsavory worldly possessions, the unworthy bauble toward which his efforts have been directed. Back ofhim we have the group of Faith, wherein kneels a Patriarch, who offersconsolation to a woman to whom he presents the hope of immortality, holding in his hands a scarab, ancient symbol of renewed life. Next cometwo recumbent figures, a man and a woman, the first, Sorrow, the othertypifying Final Slumber. These are about to be drawn into oblivion bythe relentless hand of Destiny. 

In the center of a formal parapet at the end of the basin of water, sixty feet from the fountain, is a colossal figure symbolic of thesetting sun, Helios, the great orb having thrown off the nebulous massthat subsequently resolved itself into the earth. 

In the immediate neighborhood of this Court of Abundance is found SherryFry's figure of Neptune's Daughter, in the open court north of thetower. The figure is not in keeping with the scheme of Mullgardt'scourt, extending in this direction. The effect of this figure, no matterhow graceful it may be, is unquestionably too physical, in a certainmeasure owing to the opportunity for close inspection. 

On the south of the Court of Abundance, in the Court of Flowers, EdgarWalter's fountain has been placed. "Beauty and the Beast" have beencombined in contrasting fashion, with much effect, by associating theyouthful charms of a graceful maid with the angular ugliness of adragon, who seems to feel honored by having been selected as theresting-place of a creature from outside his realm. He seems to bealmost hypnotized into a state of abject lifelessness. The effect ofthis juxtaposition of the round forms of the human body and the almostgeometrical angularity of the fabulous beast is very interesting andadds a new note to the many other ideas presented. The architecturalscheme of the fountain is made doubly interesting by a rich use ofanimal forms of humorous character. 

The immediate vicinity of the Laguna remains still to be investigated inregard to sculptural adornments. The dozen or so niches in the westfront of the main building present a repetition of two individual groupsby Charles Harley, of New York, of decidedly archaeological character"The Triumph of the Field" and "Abundance. " They are most serious piecesof work, possibly too serious, and they are in great danger of remainingcaviar to the masses on account of the complexity of their symbolism andthe intellectual character of their motives. Their setting is mostattractive, amongst groups of trees and shrubs. 

Maybeck's Palace of Fine Arts is so overwhelming in its architecturaleffects that one seldom feels like doing justice to the fine sculpturaldetail everywhere in this building. Ralph Stackpole's interesting Shrineof Inspiration is the most charming bit of sculpture, more detached inits effect than most of the other motives. Bruno Zimm's eight finefriezes, showing the development and influences of the arts in a verysevere, almost archaic style of modeling, add a fine note to the dome, and Ulric Ellerhusen's equally architectonic friezes are in good styleand are in thorough harmony with the classic quality of this greatpalace. 

It is, of course, not possible to name all of the many pieces ofarchitectural sculpture used at the Exposition. The general effect onereceives is that it represents the best that is possible in Expositionsculpture today. It gives evidence of the increasing development of thequalities of design, as contrasted with the so much looser work offormer expositions. Seldom before have sculptors anywhere, sincesculpture and architecture first worked hand in hand, so played theirmost important roles together in the ensemble setting that constitutesour Exposition visually. On arch or column, in niches, in fountains, andin free-standing groups, they sing of many themes, and always inharmony, but with no loss of character or individuality. There is nodoubt of it, that, for an Exposition, sculpture is the most important ofall the arts, because it is the most human. Without it, architecturewould be cold and without appeal. I foresee a great future for sculpturein America, where our temperament demands it. The educational value ofsculpture at an exposition is incalculable. It is a school for thesculptors, too, as well as for the public. 

The Color Scheme & Landscape Gardening

Nothing excites the Exposition visitor more than the color scheme of thebuildings. But "excite" is really not the proper word, because there isnothing exciting about it. Nothing was farther from Mr. Guérin's mindthan to create excitement, unrest, or any of those sensations that mightlead to fatigue or even to a nervous breakdown. We understand fully bythis time that it was Jules Guérin who is the responsible artist, andwho supervised the putting into existence of the first real "Guérin"that ever was. Mr. Guérin has the distinction of being the firstdirector of color and of decoration ever appointed for an internationalexposition. 

It must become evident to any person who is at all familiar with thefascinating tonal designs Guérin produces for many of our leadingmagazines that what he did was nothing but to paint nature as he hasbeen used to represent it in his pictures. Guérin must have had aglorious time with that first great opportunity, so seldom to happen, ofputting all those pet colors of his into the actual outdoors, there tofeast his eyes upon them. It was a daring and novel undertaking, mostsuccessful in a large way. I hope we are going to benefit by thissuccessful experiment and begin to give life to our dreary cementfaçades, mournful roofs, and lifeless window-sashes, ornamentations, andwhat not. We are, I admit, hopelessly at the mercy of the housepainter, who knows much about estimates, something about paint, and little aboutcolor. I hope we are going to learn the difference between paint andcolor, the purely physical, meaningless thing on the one hand, and theintelligence-conveying, pleasure-giving element on the other. 

Guérin certainly knows color, and I take it for granted that a man ofhis training and experience knows how to use paint. His expositionbuildings look for all the world like a live Guérin print taken from theCentury Magazine and put down alongside of the bay which seems to haveresponded, as have the other natural assets, for a blending of theentire creation into one harmonious unit. I fancy such a thing waspossible only in California, where natural conditions invite such atechnical and artistic innovation. 

The general effect is one of great warmth. The basic tone of thetravertine furnishes a very rich foundation for the other colors added. The whole range of color is very simple and it is simplicity andrepetition over large areas that make the colors so effective. There arethree different greens, for instance - the patina green on many minordomes, suggesting aged copper surfaces; a very strong primary green, onthe small doors of the palaces and most of the lattice work; and anothervery pale, pinkish green, a sort of an abalone shell green, used on allthe flagpole bases, always topped off with a light pinkish red, usedabove the light green base on all the flagpoles. 

Then there are the reds, a number of different reds, running from apinkish brick color to a darker russet red, to be found exclusively inall vertical panels serving as background for detailed statuary - forinstance, in all the courts. Next to the red there is a brilliantorange, used in relatively small quantities here and there in themouldings, as around the Brangwyn paintings in the Court of Abundance. 

This leaves yet to be named the few soothing blues that abound in theceilings, in the deep recesses of the walls, and the coffered arches, serving as backgrounds for the many richly-modeled terra cotta rosettes. 

This is practically the entire range of colors, but they assume, ofcourse, endless variations of tone and intensity, owing to thedifference of the surfaces and the play of light and shadow. Therelation of the whole color scheme to the colors furnished by nature isby no means accidental. The effect of the ensemble, on a calm, sunnyday, is hard to describe in its gorgeous beauty. 

The pressing into service of nature as applied to color was particularlyinviting, of course, on the bay side, where simple sweeps of skies, foothills, and plain bodies of water furnish almost ideal conditions. This is true in a similar way for the background in the west, but towardthe south - well, we had better forget such mournful outward aspects ofour great city of San Francisco, known around the world for its gaytemperament. 

Appreciating the importance of detail, Guérin extended his colortreatment to practically everything presenting surface. Nothing couldescape his vigilant eyes. Even the sand covering of the asphalted roadsis of a peculiarly attractive blend. It seems like a mixture of ordinarysand with a touch of cinnamon. Even that corps of stalwart guards had tosubmit to a tonal harmony of drabs, with touches of yellow metal, warmred puttees, and neat little yellow Spanish canes. They all seem veryproud and appreciative of their part in the concert of colors. And theyspeak of it with feeling and reverence. Not long ago, during a ratherstormy, wet day, I happened to notice several of these cicerones hidingin a doorway of one of the palaces, looking most disconsolate. Thereason for it became immediately apparent; the un-Californian weatherhad forced them to put on civilian overcoats of indescribable hues, andthe shame of being out of color was plainly written in their faces. Itshows that art is largely a matter of education. 

I fancy that all that a respectful and appreciative public could do, inorder to live up to the occasion, would be to have Exposition suitsbuilt of pongee silk, or some other harmonious material. So far, on allof my visits, I observed a shocking preponderance of black, which I hopewill eventually yield to the softer colors of lighter materials, withthe arrival of warmer weather. 

The careful observer will find that the crimson vermilion red of thefire alarm boxes had to yield to a more refined vivid orange, much, Iunderstand, to the consternation of the Exposition fire marshal, whomust have been shocked at this intrusion. 

The horticultural effect of the grounds, flower beds, and shrubbery willalways adapt itself properly to the color scheme, and a preponderance ofwarm yellows, reds, and orange will simultaneously fill out the gardenareas. At first yellow pansies and daffodils had control, to be replacedin due season by the uniform appearance of tulips, hyacinths, andsuccessions of other flowers. This progressive appearance of new flowercarpets will provide ever-changing elements of interest throughout theentire period of the Exposition. 

It seems only right at this time to speak of the great and modestlycontributed services of John McLaren. He, with his wide experience andunceasing energy, created the garden setting which ties all thebuildings into a natural harmony. Hardly ever have trees, shrubs, andflowers been used in such profusion in an Exposition. Conventional inaspect, all great expositions in the past have been lacking in theinvigorating elements, no matter how naturalistic the site may havebeen. The few scraggly pines of St. Louis looked more like undesirableleft-overs of a former forest than like a supporting feature of theExposition picture. 

The stony look of many former expostions is not evident at SanFrancisco. Considering the fact that the exposition is largely on madeground, it is amazing what has been accomplished. With the exception ofthe few scattering remains of an old amusement park - the Harbor ViewGardens - so charmingly utilized in the courtyard of the Californiabuilding, practically all the trees and shrubs had to be brought in fromthe outside. How well Mr. McLaren succeeded in moving whole gardens "enbloc" to the Exposition is shown by the fact that with the exception ofa few Monterey cypresses on one of the lagoon islands, not a single treehas died. It was no small task to transplant eucalypti forty feet high, and aged yew trees, and the tradition that it is impossible totransplant old trees has again been demonstrated as in the same classwith other old sayings based on the experience of the past, but applyingno longer to our own conditions. 

The stately rows of palms on the south avenue contain some specimens ofthe Canary Island palms which must be nearly forty years old, and someof the yews in the colonnade between the Court of the Four Seasons andthe Marina, near Miss Longman's Fountain of Ceres, are probably evenolder. The massing of large groups of black acacia, Monterey pines, andcypresses, filled in at the edge with veronica and many other floweringshrubs, gives many interesting notes, and serves frequently asbackgrounds for statuary. 

Like everything else, from the architecture down, the garden aspect ofthe Exposition is not frugal nor skimpy, whatever floral effects areused. Like shrubbery, trees occur in great profusion, and without regardfor difficulties in transplanting. 

The Court of the Universe did not receive the generous treatment fromMr. McLaren that it almost cries for. The few isolated Italian cypressesin the Court, near the tower, no doubt help a good deal, but one istempted to ask why there are not more of them. Italian cypresses arehard to transplant, particularly if their feet have become accustomed tothe peaceful conditions of Santa Clara Valley cemeteries, where most ofthem, I understand, enjoyed an undisturbed existence until they wereused so very effectively in the Exposition. These successfully moved oldtrees are by far the most useful trees in architectural schemes, asanybody who knows the Villa Borghese in Rome must admit. 

I would like to see a law passed that every person at a certain age mustplant six Italian cypresses. I humbly suggest this to our legislators, who seem to be suffering from a lack of measures to be introduced andpassed for the benefit of the people. 

The Italian cypress is our most picturesque tree, and for combinationwith architecture, is unrivaled by any other tree. They grow ratherslowly, but do not take much space, on account of their vertical habit. The making of the Court of Palms is due largely to the liberal use ofthese elegant trees, with their somber stateliness. 

The lover of outdoors will find no end to his pleasurable investigationsin the many fine, luxurious groupings of flowering shrubs. Heather, which does so well with us, and blooms when only few flowers brightenour gardens, has been profusely used in solid beds at the base of theKelham towers, around Festival Hall, and in many other places. Thedainty, glistening foliage, interspersed with red berries of anotheracclimated alien from the Himalaya Mountains - the Cotoneaster - makesfine borders around the pool in the Court of the Four Seasons, in theCourt of Palms, and in several of the colonnades. 

Evergreen plants and shrubs are the dominant features of the two ItalianAvenues connecting the big court with the side courts. The rich andluxuriant carpets of the many varieties of box, thuya, taxus, and dwarfpine, in dark, somber greens and many lighter color variations, aresuperb. 

In the Court of Abundance great masses of orange trees furnish thedominant note. They are most effective with their branches heavily ladenwith fruit. They are not only a surprise to the outsider, but even tothe Californian, who wonders at the skill and experience which made thisfeat possible. 

Mural Decorations

In connection with the color, scheme, the mural decorations inviteattention at many places. The outdoor character of the Exposition hasgiven unusual locations to some of these decorations. There are in allsome thirty. Mr. Guérin, as the director of color, had full charge oftheir production, and all of them were painted by men he trustedpersonally as regards their ability to execute and to finish on time. That his choice fell largely on Eastern men was only too natural. 

Few people have a proper idea of the magnitude of the work involved inpainting a huge decoration, and Mr. Guérin can hardly be blamed forhis choice of the men of experience who finally did the work, althoughnot all of them justified the confidence placed in them. The work ofpainting such huge decorations is necessarily a big undertaking, involving many preliminary studies and much physical and mechanicallabor in the end. Many painter-decorators employ large numbers oftrained men, apprentices and independent artists, to assist in theexecution of their commissions, and very frequently the temptation ofyielding the pleasure of execution to other hands is the cause of thelowering of standards. 

Probably, none of the canvases by Mr. Robert Reid, in the dome of theFine Arts Palace, can be said to do justice to the remarkable decorativetalent of Mr. Reid. He is so well and prominently known as a painter ofmany successful decorations, in the East, that it is to be regrettedthat he was not in a happier mood when he came to the task of paintinghis eight panels of irregular shape for the Exposition. 

The very scattered style of painting so effective in many of his easelpaintings, which show all the fine qualities of a modern impressionisticschool, is not of great help in pictures intended to be viewed from agreat distance. His decorations present very little opportunity for theeye to rest upon them, and they are altogether too involved, in theirturbulent compositions. Their color is not unattractive, no matter howcold, and of sufficient interest to atone for the lack of dignifieddesign. The subjects of all of these are by no means unattractive, and adescription of them reads far better than the pictures look. 

The birth of European art is symbolized in the first panel. There arefive dominant figures, grouped about an altar on which burns the sacredfire. An earthly messenger leans from his chariot to receive in hisright hand from the guardian of the flame the torch of inspiration, while with his left hand he holds back his rearing steeds. In front ofthese a winged attendant checks for an instant their flight. The centralfigure, the guardian of the altar, still holds the torch, and below herare three satellites, one clasping a cruse of oil, another pouring oilupon the altar, while she holds in her hand a flaming brand, ready torenew the flame should it falter, a third zealously watching the fire asit burns. Opposite these a figure holds a crystal gazing-globe, in whichthe future has been revealed to her, but her head is turned to watch theflight of the earthly messenger. 

The birth of Oriental art is symbolized in the second panel. The forcesof the earth, wresting inspiration from the powers of the air, arepictured by a contest between a joyous figure in ancient Chinese armor, mounted upon a golden dragon, combating an eagle. A female figure undera huge umbrella represents Japan, while on either side are two otherOriental figures, in gorgeous attire, symbolic of the long periods ofOriental art. 

The third panel represents the Ideals in Art. There are seven figures, the Greek ideal of beauty dominating all in a classic nude. Below thisReligion is portrayed, in a Madonna and Child. Heroism is shown inJeanne d'Arc, mounted on a war-horse and flinging abroad her victoriouspennant. A young girl represents youth and material beauty, while at herside a flaunting peacock stands for absolute nature, without ideal orinspiration. A mystic figure in the background holds the cruse of oil. Over all of them floats a winged figure holding a laurel wreath for thevictorious living, while a shadowy figure in the foreground holds a palmfor the dead. 

The fourth panel represents the inspirations of all Art, five figuressymbolizing Music, Painting, Architecture, Poetry, and Sculpture. Flyingabove these are two winged figures, one holding a torch flaming with thesacred oil that has been brought from the altar, the other drawing backthe veil of darkness, revealing the tangible, visible expression of Artto mortal eyes. 

The four single panels symbolize the four golds of California; thepoppies, the citrus fruits, the metallic gold, and the golden wheat. Theidea of the four golds is particularly novel and will some day yield farmore interesting results, and I hope the subject will not be allowed tolie idle. It is a very fine idea, too good not to be used permanently insome dignified building in California. 

The Court of the Four Seasons offers a decorative scheme of eight panelsabove the doorways in the colonnades and two large panels in theorchestral niche on the south. All of these ten paintings were done byMilton Bancroft, one of the younger of the Eastern decorator-painters, who took his task seriously enough, without rising in any of hisdecorations above the conventional, with the exception of the "Autumn"and the two larger panels in the half dome. 

All of the seven decorations belonging to the set of eight smaller onesare rather academic in their monotony of symmetrical compositions, notsufficiently relieved by variety of detail. These decorations have toexcess what Reid's decorations are lacking in, namely, repose. Theircoloring is quiet and in thorough harmony with the architecture. 

Bancroft's two more importantly placed decorations are, fortunately, hisbest efforts. "Art Crowned by Time" and "Man Receiving Instruction inthe Laws of Nature" are very effective in their stateliness andthoroughly decorative quality. They show the artist's allegiance to thegreat decorations of the Renaissance in many quaint ways of filling outthe background spaces by puttos holding tablets, simple bits ofarchitecture, and conventionalized trees. His figure of "Art" is uniqueamong his figures in the decorative pattern used on the mantle whichfalls gracefully from her shoulders. All the other Bancroft decorationsare devoid of this use of surface patterns, which are so helpful andinteresting in decorative arrangement. 

It is only a few steps from the Court of the Four Seasons into the Courtof Palms. In entering through the orchestral niche one passes directlyunderneath the lunette which holds the very decorative canvas by ArthurMathews, the acknowledged leader in the art of California. It must besaid that it does not seem right, in the light of what has beencontributed by men from elsewhere, that Mathews' superb talent shouldhave been employed only in one panel. His "Victorious Spirit, " a richand noble composition, has certain enduring qualities which are not tobe found in a single one of any of the others. Simply taken as adecoration, his picture is most effective by its richness of color, andwithout going into the question of its meaning, it is thoroughlysatisfactory as a decoration. 

Childe Hassam's lunette, said to represent "Fruit and Flowers, " isalmost anaemic alongside Mathews' fullness of expression. Nobody eversuspected Childe Hassam of being a decorator, no matter how admittedlyimportant a place he holds in the field of easel painting. Thecomposition of his decorations is frugal in every sense, largely owingto the small scale of his figures. In the physical center of thecomposition nothing of interest happens, and the composition breaksalmost in two. The coloring is insipid, and altogether not in keeping, in its extreme coldness, with the happy warmth of the travertinesurrounding it. 

Directly opposite, Charles Holloway presents himself in a very happypainting called "The Pursuit of Pleasure. " A study of this picture canresult in nothing but complete satisfaction. It is well andinterestingly composed, lively in arrangement, in good scale, and notlacking in a certain feeling of repose, so essential in a gooddecoration, and, for that matter, in any work of art. 

In the great arch of the Tower of Jewels the most elaborate decorationsof Mr. William de Leftwich Dodge, of New York, command attention firstof all by their fine and lively colors. These decorations show a mostexperienced artist, treating a wide variety of interrelated subjectswith great skill. These enormous canvases, sixteen by ninety-six feet insize, are divided into a triptych, each picture continuing its centralscheme into two smaller side panels. 

The great composition to the left is labeled "The Atlantic and thePacific, " with a picture of "The Purchase" on the right and "TheDiscovery" on the left. Opposite we have the "Gateway of all Nations, "with "Labor Crowned" and "The Achievement" on either side. 

Mr. Dodge has a very fine sense of decoration, which he used with muchskill. His command of human forms, together with the complete mastery ofall other detail, enables him to paint very easily decorations whichleave no doubt as to his long and varied experience in this field. 

"The Atlantic and the Pacific" is very interesting in its formalsymmetry, splendidly relieved by the individual treatment of the easternand western nations which receive with expressions of joy the completionof the great waterway which means so much for the furthering of theirmutual interests. 

"The Gateway of all Nations" on the opposite side is less symmetrical, but very well balanced in its arrangement of many elements, naturalisticas well as allegorical. On the left, in the middle picture, one sees theretiring forces of labor, proudly watching the great procession ofvaried ships, moving in a joyous parade, led by Father Neptune andattendants, towards the recently opened gate. Preceding Father Neptuneare allegorical figures, rhythmically swinging away into the sky. All ofDodge's decorations are good for their sound decorative treatment, always sustaining well the architectural surrounding frame, soparticularly important in this great and massive tower. Dodge'sbackgrounds are devoid of any naturalistic suggestion, which so oftendestroys otherwise effective decorations. 

The function of a decoration must always be to preserve the feeling ofthe wall, as opposed to the work of the easel painter, who wants toassist in forgetting that there is a canvas and to suggest that we arelooking into the far distance. A good decoration should, as it were, allow the driving of a nail into any part of its surface - it should notmake a hole in the wall. 

In the two triumphal arches of the Nations of the East and the West, Frank Vincent Du Mond and Edward Simmons, respectively, contributed tothe scheme of decorations. In the western arch, DuMond painted acontinuous frieze of the march of civilization towards the great West. His work is most conscientiously done, very intellectual, and mosteffective in color, as well as in arrangement. You see in his continuedscheme the entire story of western development. 

It begins with the youth departing from his old father, who onlyreluctantly - feeling the infirmities of old age - stays behind. Preceding the young man, the historical prairie-schooner, accompanied bypioneers, continues the procession. This is developed further inhistorical groups of soldiers, priests, and men representing theintellectual rise of the great West. There is William Keith, with thepalette, Bishop Taylor, Bret Harte, Captain Anza, and other well knownwestern figures, taking their place in the procession of tent wagons andallegorical figures, all striving towards that very fine grouprepresenting California in all the gorgeousness and splendor of theGolden State. This composition of "California, " taken by itself, is oneof the very best passages in the whole decoration, and could veryeffectively be used all by itself. 

On the east, Edward Simmons presents two very charming compositions, full of great refinement and delicacy. The refined coloring of hisdecorations, so very delightful by themselves, is not in accord with thearchitecture, and in the overawing surroundings of the great arch theydo not look as well as they might in a more intimate scheme of smallerscale. The one to the left, as seen from the Court of the Universe, tells of the dreams which led to the exploring and exploiting of thegreat West. Carefully designed figures of great refinement. Represent"Hope" and "Illusory Hope, " scattering tempting bubbles, heading theprocession of stately women. They are followed by "Adventure, " "Art, ""Imagination, " "Truth, " and "Religion" and a group suggesting familylife. 

On the opposite side the westward trend of War, Commerce, Conquest, Imagination, and Religion from all corners of the earth is typified. 

Mr. Simmons in all his work employs a very unusual technique of brokencolumns, without losing a certain desirable simplicity of surface. Hisallegorical theme on the north side will linger in the minds of thepeople as one of the best of the Exposition decorations, particularlyfor its graceful drawing. 

It seems hardly possible to do adequate justice to the very unusualgenius of Frank Brangwyn, who charms thousands of Exposition visitorswith his eight panels, representing the Four Elements, in the Court ofAbundance. Brangwyn's pictures have one great advantage over all of theothers, which lies in their accessible location, well controlled bydaylight. All the other decorations seem to me to be situated too highabove the ground. Brangwyn's have no such disadvantage to contend with. How much more important, for instance, Mathews' lunette would look, placed somewhere nearer the level of the eye. 

Brangwyn's canvases are a veritable riot of color, full of animation andlife. They are almost dynamic. There seems to be something going on inall of them, all the time, and one hardly knows whether it is thecomposition, the color, or the subject, or all three, which gives themthis very pronounced feeling of animation. He knows how to approach theextreme possibilities in pictorial decoration without losing sight ofcertain elements of repose. Seen from a distance, their effect at firstis somewhat startling, owing to their new note, not reminiscent in thevery least of the work of any other living - or past - painter. Oncloser examination they disclose a great wealth of form, very skillfullytreated. There is every indication that it gave the artist the utmostpleasure to paint them. This spirit of personal enjoyment, which all ofthem convey in a remarkably sustained fashion, is contagious, anddisarms all criticism. They are primarily great paintings in a technicalsense. Added to that quality is a passionate love of pure color, juxtaposed with fine feeling for complementary colors of greatintensity. 

Brangwyn's glass window technique, of separation into many primary andsecondary colors by many broad contrasts of neutral browns and grays, isvery effective in bringing a feeling of harmony in all of his paintings, no matter how intense their individual color notes may be. 

His pictures are not intellectual in the least, and all of the people inhis pictures are animals, more or less, and merely interested in havinga square meal and being permitted to enjoy life in general, to thefullest extent. 

The quality of enjoyment that runs through all of Brangwyn's work isextremely useful in the general atmosphere of Mullgardt's court. In thenorthwest corner, Nature is represented, in all the fecundity of theearth. Only in our wildest dreams, and only in the advertisements ofCalifornia farm lands and orchards, do such grapes, pumpkins, pears, andapples exist. 

The picture to the left shows the grape-treaders, in the old-fashionedand unhygienic practice of crushing grapes by dancing on them inenormous vats. Others are seen gathering and delivering more grapes. Asin the other picture, showing the harvest of fruit, more people areshown. Brangwyn never hesitates to use great numbers of people, whichseem to give him no trouble whatever in their modeling andcharacterization. 

Following on to the right, "Fire, " represented as the primitive fire andas industrial fire, in two pictures, continues the scheme. That group ofsquatting woodmen carefully nursing a little fire is almost comical, with their extended cheeks, and one can almost feel the effort of theirlungs in the strained anatomy of their backs. There does not seem to beanything too difficult for Brangwyn. "Industrial Fire" is interestingfrom the decorative note of many pieces of pottery in the foreground. They seem to have come from the kiln which muscular men are attending. 

"Water" is unusually graceful and delicate in its vertical arrangementof trees and the curve of the fountain stream, coming from the side of ahill. Women, children, and men have congregated, taking their turn infilling all sorts of vessels, some carried on their heads, some in theirarms. Brangwyn's clever treatment of zoölogical and botanical detail iswell shown in flowers in the foreground, such as foxglove and freesia, and the graceful forms of a pair of pinkish flamingoes. In the otherpanel of the same subject, a group of men on the shore are hauling intheir nets. 

The last of the four, "Air, " represents this element in two totallydifferent ways; the one on the left gives the more tender, gentlemovement of this element, in the suggestion of the scent of the bowmenscreened by trees, moving toward their prospective prey, while the othervery bold composition is of a windmill turned away from the destructivepower of an impending windstorm. In the foreground people are rushedalong by gusts of wind, while children, unaware of the impending storm, are flying kites. 

The masterful and varied treatment of these eight canvases show Brangwynas the great painter he is known to be. We should rejoice to have suchexcellent examples of his brush permanently with us. 

While not exactly belonging to the number of official decorations, Edward Trumbull's wall paintings in the unique Pennsylvania building areof great interest. Thoroughly dignified in their composition, they aremost descriptive in their subject-matter. The "Pennsylvania Industries"are on the west side and "Penn's Treaty with the Indians" on the other. It is evident that Trumbull is a disciple of Brangwyn, though a personalnote is not lacking in his work. 

The tea-room of the California building harbors some mural decorationsby Miss Florence Lundborg which the male part of the population canenjoy only by special invitation. I regret that they are not placedsomewhere where the casual Exposition stroller can see them, becausethey are deserving of more attention than they are apt to receive. MissLundborg's artistic contributions have for many years been along thelines of decorations and in this big, well-composed figural scheme shediscloses again a very fine, sympathetic understanding of the problemsof a wall decoration. The color scheme is very refreshing and gives lifeto a large hall which has been endowed with unusual distinction by MissLundborg's art. A number of decorative floral medallions complete ascheme which is characterized throughout by dignity and sympathy. 

The IlluminationConclusion

While a daytime investigation of the Exposition no doubt has itsrewards, the full meaning of the Exposition reveals itself at night. Never before has an Exposition been illuminated in the unique fashion ofthe Panama-Pacific International Exposition. 

Former exposition lighting consisted of a lavish display of lightingfixtures, and of unavoidable millions of glaring bulbs, the number ofwhich nobody was permitted to forget. The offensive glare of the directlight had to be eliminated to preserve that feeling of tonality, ofrestfulness, so impressive in daytime. In other words, the sources ofall lights at night have been concealed, or so concentrated that theycould be far removed, so as not directly to offend the eye. The effectis very much like the flood of light of a full-moon summer night. 

In speaking of the rich mellowness of the lighting effect, one feelsagain compelled to speak of the travertine stucco as the artisticfoundation of not only the architecture, sculpture, painting, andlandscape garden effects, but also of the illuminating effects designedby Mr. W. D'A. Ryan, and executed by Mr. Guy L. Bayley. Without themellow walls and rich orange sculptural details, no such picture oftonal beauty could have been produced. 

It is difficult to single out, among the many suggestive pictures, themost alluring one, but I may safely say that the first half hour afterthe close of day, as enjoyed around the lagoon, with the Fine ArtsBuilding in the background, reflected in the waters, will linger foreverin the minds of all who are privileged to see it. 

Such blues I have seen only in pictures by Maxfield Parrish. Combinedwith the rich gold of the colonnade, they are almost supernatural. Thewhole effect, as reflected in the placid surface of the lagoon, occasionally broken here and there by a slowly moving waterfowl, or theprotruding mouth of a carp, is inspiring, and must awaken an aestheticresponse in the soul of the most ordinary mortal. Very quickly, however, does this colorful picture change, and the very intense blue of theearly evening sky rapidly changes into a colorless black. 

The Palace of Fine Arts, above all others, offers many wonderful bits ofenchantment at night. It seems to have been thought out not only for itsdaytime effect but for the night as well. 

Of the inner courts, those with larger and smaller bodies of water aremost effective at night. The Court of the Four Seasons, with its placid, shrub-encircled pool, is doubly interesting at night. The fourwall-fountains add much to the outdoor feeling that this courtpossesses, by reason of the suggestive murmur of the waters, descendingin gentle splashes from bowl to bowl. 

The most striking court, in its mysteriousness, is Mullgardt's Court ofAbundance, particularly so on a foggy night. Large volumes of vapor arelazily rising from huge bowls and torches, below, and in the tower, suggesting the early days of the cosmic All, cooling off from theturbulent period of its creation. The fogs sweeping from the bay addmore mystery, and with the gorgeous perfume of the hyacinth carpet inthe garden spaces, the effect is almost narcotic. The whole court, underthese conditions, seems heavy with the atmosphere of abundance, ofphysical well-being, of slumbering natural powers. 

At the same time, it is truly religious in its effect of turning themind away from the ordinary world into the realm of the mystic and thesupernatural. I never realized what our San Francisco fogs could producein artistic effects until I visited Mullgardt's court on a foggy night. The effect of the fog is absolutely ennobling. 

So many things like these, possibly not originally thought of, haveadded, together with the illumination, rare charm to the Exposition. Great masses of pigeons, attracted by the light thrown upon the twogreat groups of the Nations of the West and of the East, give anunusually inspiring touch to the Exposition at night. The spectacle ofthese graceful birds encircling rhythmically the great sculptural piles, apparently enjoying the bath of light, will never be forgotten. Thesepigeons seem to have decided to live in the Exposition; they are therealways, and apparently glad to play their part in the Expositionensemble. 

The lesson of the Exposition will be far reaching in its manydemonstrations of the commercial value of artistic assets. The wholeExposition is really a city-planning exposition of the first order. Anycity-builder, by the respectful use of the great fundamental principlesof balance, harmony, and unity, cannot help but do on a large scale whatthe Exposition presents in a more condensed fashion. I admit that wehave made tremendous strides in the remodeling of many of our largecities, particularly in the East, but we are still constantly startingnew cities in the old planless way. 

Our only practical and lasting effort in San Francisco along the linesof civic progress has been made in the civic center, where afar-reaching plan has been adopted and partly put into existence, and insome of our very charming newer restricted residence districts in thewestern end of the city, like St. Francis Wood, or in Northbrae andClaremont, in Berkeley, and elsewhere around the bay. 

There is no doubt that we must better capitalize our own artisticassets, which we often allow to lie idle before we ever utilize themproperly. The water front, Telegraph hill, the ocean shore, SutroHeights, and Lincoln Park are all waiting to be developed in such a wayas the Exposition suggests. The talk of cost is idle twaddle. If theExposition, as an artistic investment, pays - and I see no reasonwhatever why it should not pay for itself - then we cannot do anythingbetter than to invest our money wisely in other artistic improvements ofa permanent character. 

San Francisco is known all the world over for its unique location, rivaled only by that of Marseilles, and we have now the responsibilityto use this natural asset, for which many envy us. The Exposition willstart an avalanche of improvements along artistic lines which will begiven increasing momentum by the development of long periods ofprosperity. 

The most urgent need, no, doubt, is the establishment of a municipal artgallery in the civic center, the only ideal place for it, where theworkingman from the Mission and the merchant from west of Van Nessavenue will find it equally convenient of access. If a smaller number ofcitizens could raise the money for a municipal opera house, there shouldbe no trouble in getting funds for a building devoted to a far moreextensive public benefit, like an art gallery. People generally willwant to know why it is that certain things can be given to them for oneyear, so successfully, and why it should not be possible to have themwith us permanently. The inspiring lesson of beauty, expressed so simplyand intelligently, will sink deep into the minds of the great masses, tobe reborn in an endless stream of aesthetic expression in the spiritualand physical improvement of the people. 

We, out here in the West, have been measuring the tide of human progressin biological terms. We have almost forgotten the days of our greatcalamity, and still speak of them in that typical expression ofapprehension of the "earthquake babies. " Let us think now of the futureand its bright prospects, inaugurated so auspiciously for the benefit ofour Exposition generation. 

Appendix

Guide to Sculpture

South Gardens:

Fountain of Energy (center) - A. Stirling CallerDirectly opposite the main entrance, the most conspicuously placedfountain in the grounds. The four major figures in the bowl representthe Pacific, the Atlantic, and the two Arctic oceans. The minor eightfigures suggest the marine character of the fountain. The recliningfigures on the sphere typify the two hemispheres. The youth on horsebackrepresents energy and strength. 

The Mermaid (fountains in long pools) - Arthur PutnamThe same figure is used twice, near the Horticultural Palace on the westand Festival Hall on the east. 

Equestrian Statue, "Cortez" - Charles NiehausGuarding the Tower of Jewels. This statue represents the great Spanishconqueror. As one faces the tower, this figure is on the left. 

Equestrian Statue of "Pizarro" - Charles Cary RumseySimilar in type and feeling to the preceding statue on the right, infront of the Tower of Jewels. 

Horticultural Building:

Frieze at Base of the Spires - Eugene Louis BoutierLoose arrangement of standing female figures surrounding the bases ofthe spires on all sides of the Horticultural Palace, with no othermeaning than that of decoration. 

Pairs of Caryatides - John BatemanArchitectural vertical members supporting the pergola around theHorticultural Palace. Used also on the Young Women's ChristianAssociation and the Press buildings, near the main entrance. 

Tower of Jewels:

Statues of "Priest, " "Soldier, " "Philosopher, " and "Adventurer" - John FlanaganFour figures suggestive of the forces which influenced the destinies ofour country. Very big in scale - about twice life size. They arestanding on a row of columns below the cornice on the tower and arerepeated on all four sides. 

The Armored Horseman (Terrace of the Tower) - F. M. L. TonettiA decorative equestrian statue on the lower terrace of the tower abovethe preceding figures - repeated sixteen times. 

Tower Colonnades:

Fountain of Youth (east end) - Edith Woodman BurroughsSnugly placed inside the abutting walls, east of the Tower of Jewels. Naive in character and simple in treatment, without any furthersymbolical meaning than that suggested by the name. Motif in sidepanels, "Ship of Life. "

Fountain of El Dorado (west end) - Mrs. Harry Payne WhitneyIn position similar to the preceding, west of the Tower of Jewels. Atriptych of dramatic expression, naturalistically treated. 

Festival Hall:

Figure crowning the minor Domes - Sherry E. FryA standing finial figure, on the minor domes, of graceful pose. 

Two groups in front of the Pylons - Sherry E. FryPractically conceived as wall fountains, they are composed of the figureof a girl, suggesting the joy of life, emphasized by young Pan, with alizard, at the base on the left, and a seated young girl on the right. 

Cartouche over the entrance (figures only) - Sherry E. FryAn architectural unit over the big arch of the main central dome, outside the building, for decorative effect. 

Reclining figures on Pylons - Sherry E. FryA male and a female figure, reclining, crowning the architectural unitsprojecting into the South Gardens. Suggestive of life and pleasure. 

Court of Palms:

Equestrian statue, "The End of the Trail" - James Earl FraserAt the entrance of the Court of Palms, off the main avenue opposite theHorticultural Palace. Symbolical figure, representing the destinies ofthe vanishing red race; to be considered in connection with the"Pioneer" at the entrance of the Court of Flowers. 

The Fairy (Italian Towers - Palms and Flowers) - Carl GruppA figural termination of the four towers guarding the entrances to theCourts of Palms and of Flowers. 

Caryatides - John Bateman and Mr. CalderWinged half-figure in the attic-space, repeated all around the court. 

Spandrels - Albert WeinertReclining decorative figures composed into the triangular spaces overall the doorways in the corridor. 

Court of Flowers:

Equestrian statue, "The Pioneer" - Solon BorglumAt the entrance of this court. Representing the white man and hisvictorious civilization. (To be studied with "The End of the Trail. ")

Lions (at the entrances) - Albert LaessleVery conventional architectural decorative animal forms at the entranceinside the Court of Flowers - used six times. 

The Fairy (above the Italian Towers) - Carl Gruppe[See Fairy under Court of Palms by the same artist. ]

Central Fountain, "Beauty and the Beast" - Edgar WalterDecorative fountain inside the court, with crowning figure of a youngwoman, reposing on a fabulous beast. 

Flower Girls (in niches) - A. Stirling CalderRepeated figures, conventionally treated, of young women, decoratedprofusely with flower garlands, in the attic space. 

Court of Abundance:

Groups on the altar in the main tower - Chester BeachThese groups constitute the historical composition in the tower on thenorth side of the court. Beginning with the lower one, they representthe primitive ages, the middle ages, and modern times. 

Group at column bases and finials - Leo LentelliDecorative figures. Used four times at the base of the shaft near thetower. A single finial figure of a girl with a bow is used on top of thesame column. 

Fountain of the Earth (central pool) - Robert I. AitkenAn architectural composition telling the story of human life in its manyphases. The outstretched arms on the south side represent destiny givingand taking life. 

Figures on top of the Arcade - Albert WeinertPrimitive men, with the pelican and deer; the mother with a child isrepeated all around the court. 

Aquatic Life (north extension) - Sherry B. FryA figure which might represent Neptune's daughter. This figure standsnorth of the tower in the open space toward the Marina below, betweenthe Palaces of Transportation and Mines. 

Court of the Universe:

The Nations of the East; The Nations of the West - A. Stirling Calder, Leo Lentelli, and Frederick C. R. Roth, collaborators. Colossal groups on top of the two great arches, representing, in manytypes, Western and Eastern civilization. 

Statues on columns (eastern and western arches) - Leo LentelliWinged statues standing on top of columns on the inside as well as theoutside of the two great arches. 

Spandrels, Pegasus - Frederick G. R. RothTriangular compositions spanning the arches, repeated on both sides. 

Medallion - B. BufanoCircular decorations of male figures on the left side of the archwithout any meaning other than architectural effect. 

Medallion - A. Stirling CalderSame as above, of female figures, on the right side of the arches. 

The Stars (colonnades) - A. Stirling CalderVery conventional standing figure, with hands united above the head, forming a star with radiated head-dress, placed on the balustrades ofbuildings adjoining the court and in the avenue leading north from thecourt. 

Frieze on corner pavilions, "Signs of the Zodiac" - Hermon A. MacNeilDecorative friezes on four sides of the four corner pavilions, ofmythological character. 

Two fountains, "The Rising Sun" and "The Setting Sun" - Adolph A. WeinmanTwo columns rising from fountain bowls and crowned by winged figures, ofa woman, representing the Setting Sun, on the left, and of a winged malefigure, the Rising Sun, on the right. 

Four reclining figures, "The Elements" - Robert I. AitkenAt the head of the stairs leading into the sunken garden; on the left, near the Music Pavilion, "Fire;" on the right, "Water;" on the left, near the tower, "Air;" on the right, "Earth. "

Two Groups - Paul ManshipNear the arches at the head of the steps, two figural groups. One is offemale figures, suggesting pleasure; the other, music and art. 

Western Plaza, in Front of Machinery Palace:

Monument, "Genius of Creation" - Daniel Chester FrenchGroup of allegorical figures, suggestive of the development of the humanrace. 

Court of the Four Seasons:

Four groups representing "The Seasons" - Furio PiccirilliIn niches. Southeast corner, "Winter;" northeast corner, "Fall;"southwest corner, "Spring;" northwest corner, "Summer. "

The Harvest (above the half dome) - Albert JaegersSeated figure with a horn of plenty and other agricultural emblems. 

Rain and Sunshine (figures on columns) - Albert JaegersStanding female figures on columns on either side of the half dome. Sunshine, holding a palm branch, is on the left, and Rain, holding up ashell, on the right. 

Groups, "Feast of Sacrifice, " on the pylons in the forecourt - Albert JaegersThe two groups on top of the building, in which huge bulls predominate, led by a young woman and a young man; very decorative. 

Fountain, "Ceres" - Evelyn Beatrice LongmanSituated halfway between the Court of the Four Seasons and the Marina, in an avenue leading north; architectural in character. 

Spandrels (arcade) - August JaegersReclining female figures above the arches at the west and east entranceof the Court of the Four Seasons. 

Attic figures - August JaegersStanding decorative figures of architectonic feeling, in the attic abovethe preceding figures. 

Varied Industries Palace:

Tympanum group in the doorway - Ralph StackpoleGroups of men and women in the lunette of the ornate doorway on thesouth side. 

Secondary group, doorway - Ralph StackpoleGroups above the preceding one, showing Age transferring his burden toYouth. 

Figure for niches, doorway (man with the pick) - Ralph StackpoleA repeated figure of a miner, of relatively small scale, on the consolesin the doorway. 

Figure for keystone in doorway - Ralph StackpoleA small seated figure of a laborer, on the headstone. 

Figure for niches, on the east façade of this Palace and of the Palace of Mines - Albert WeinertStanding figure in niches above doors, also used in avenue leading intothe Court of Abundance from the east. 

West Wall of the Palaces (facing Fine Arts):

Motifs for wall niches ("Triumph of the Field" and "Abundance") - Charles R. HarleySeated male and female figures surrounded by a great wealth ofemblematic forms. The male represents "Triumph of the Field;" thefemale, "Abundance. "

Figures on columns (flanking the half domes): Philosophy and Physical Vigor - Ralph StackpoleA colossal figure of a youth, on top of free-standing columns on thewest wall of the main buildings. 

Palace of Fine Arts:

Standing figure, inside of the rotunda on top of columns - Herbert Adams

Figures in the attic of the rotunda - Ulric H. EllerhusenStanding females and males between architectural friezes immediatelybelow the cupola of the dome. 

Frieze on the altar - Bruno Louis ZimmFigural frieze at the base of the rotunda facing the Laguna can only beseen from a great distance across the water. 

Relief panels for the rotunda - Bruno Louis ZimmEight panels on the outside, of strictly architectural character, representing a procession, showing the development and influence of art. 

Friezes around the base on the ground - Ulric H. EllerhusenFigures with garlands, used everywhere at the base of the building. 

Figures on the flower boxes - Ulric H. EllerhusenStanding figures, looking inward, representing introspection. 

Kneeling figure on the altar - Ralph StackpoleThe shrine of worship. That delicate small figure seen best from acrossthe laguna in front of the rotunda. 

North Façade, Main Group of Exhibit Palaces:

Figure for central niches, "Conquistador" - Allen NewmanA Spanish soldier, with helmet and sword and a large mantle. 

Figure for side niches, "The Pirate" - Allen NewmanA coarsely shaped man, in small niches on the north side of the mainbuildings near the preceding one. 

Column of Progress:

Bas-relief (four sides of the pedestal) - Isidore KontiFour allegorical friezes depicting man's striving for achievement. 

Finial group, "The Adventurous Bowman, " frieze and decoration - Hermon A. MacNeilThe group on top of the column suggests man's supreme effort in life, the supporting frieze is "The Toilers. "

Palace of Machinery:

Figures on columns (four "Powers") - Haig PatigianRepeated large scale figures of men, representing the industriesexhibited within the building. 

Friezes for columns, vestibule - Haig PatigianDecorative architectural figure compositions of similar subjects. 

Spandrels (two pairs) - Haig PatigianReclining figures filling out the triangular spaces above the doors inthe vestibule reflecting the purpose of the building. 

Palace of Education:

Repeated figure within the Half Dome, of Thought - Albert WeinertStanding figure of a maiden with a scroll inside the portal, repeatedeight times. 

Palace of Food Products:

Repeated figure within the Half Dome, "Physical Vigor" - Earl CummingsSimilar to that above, inside the Portal of Vigor, showing a standingyoung man, with an oak wreath. 

Friezes and figures in niches, main south entrance (portals of the Manufacturers and Liberal Arts Palaces) - Mahonri YoungFigures representing domestic life and industries like foundry work, smithing, spinning, and sculpture. Figures in the niches: woman withspindles and men with hammers. 

Tympanum panels (north and south entrances of the Palace of Education) - Gustave GerlachDecorative panels above the doors outside of the building showingmaternal instruction. 

Panels inlaid in the walls over the minor entrancesPupils of the School of Sculpture of the Society of Beaux ArtsArchitects and National Sculpture Society. Decorative panels of school life and of science. 

Figure, "Victory, " on the gables of the palaces - Louis UlrichA winged figure used on top of all the palaces. 

Mural Decorations

Court of Abundance:

Earth - Frank BrangwynNorthwest corner of the corridor, two panels: grape-crushers on the leftand fruit-pickers on the right. 

Fire - Frank BrangwynTwo panels in the northeast corner of the corridor. Primitive Fire onthe left and Industrial Fire on the right. 

Water - Frank BrangwynTwo panels in the southeast corner of the corridor. Fountain motive onthe left and fishermen hauling nets on the right. 

Air - Frank BrangwynTwo panels in the southwest corner of the corridor. In the left panel, the scent of hunters carried toward their prospective prey. A windmillon the right. 

Court of the Four Seasons:

Spring - H. Milton BancroftTwo murals above the doorway in the colonnade (southwest corner). To theleft, Spring; to the right, Seedtime. 

Summer - H. Milton BancroftTwo murals similar to those in the northwest corner of the court. Fruition on the right; Summer on the left. 

Autumn - H. Milton BancroftIn the northeast corner of the court, two panels: Autumn on the right;Harvest on the left. 

Winter - H. Milton BancroftSimilar in location to the preceding, in southeast corner. Two murals, Festivity on the right; Winter on the left. 

Man Receiving Instruction in Nature's Laws - H. Milton BancroftOne upright panel, in the half dome on the right. 

Art Crowned by Time - H. Milton BancroftOn the left opposite the preceding. 

Eastern Arch, Court of the Universe:

Hope and Attendants: (On the north wall) - Edward Simmons

Historical types: (On the south wall) - Edward SimmonsRepresenting Greece, Italy, Spain, England and France, on the southwall. 

Tower of Jewels:

The Atlantic and Pacific (in the center);The Discovery (on the left;)The Purchase (on the right) - William de Leftwich DodgeGateway of All Nations (in the center);Labor Crowned (on the left);Achievement (on the right) - William de Leftwich DodgeSix panels inspired by the construction of the Panama Canal. The firstgroup is on the west wall, the second on the east. 

Western Arch, Court of the Universe:

The Westward March of Civilization, in two panels by - Frank V. DuMondBeginning in the north panel and continued in the opposite one. 

Court of Palms:

Fruits and Flowers - Childe HassamPainting in a lunette over the entrance into the Palace of Education. 

The Pursuit of Pleasure - Charles HollowayA painting of the same shape as the preceding, over the entrance intothe Palace of Liberal Arts. 

The Victorious Spirit - Arthur MathewsIn the lunette over the doorway into the Court of the Four Seasons. 

Rotunda, Palace of the Fine Arts:

The Four Golds of California (Golden Metal, Wheat, Citrus Fruits, and Poppies) - Robert ReidIn the ceiling inside the rotunda. 

Art, born of flame, expresses its ideals to the world through music, poetry, architecture, painting, and sculpture - Robert ReidIn the same location. 

Birth of European Art. Birth of Oriental Art - Robert ReidBelonging to the preceding group of eight pictures by the same artist. 

Pennsylvania Building:

Decorative Paintings - Edward TrumbullIn the east and west walls of the center court of the building, showingPenn's Treaty with the Indians on the right and Pennsylvania Industrieson the left. 

Biographical Notes

Adams, Herbert(Sculptor) New York. Born in West Concord, Vermont 1858. Studied inParis. Figures on columns inside of Rotunda, Palace of Fine Arts. 

Aitken, Robert I. (Sculptor) New York. Born in San Francisco, California, 1878. Studied inMark Hopkins Institute, San Francisco, and Paris. The Four Elements, inCourt of the Universe, and Fountain of Earth in Court of Abundance. 

Bacon, Henry(Architect) New York. Born in Watseka Illinois, 1866. Studied at theUniversity of Illinois and in Europe. Court of the Four Seasons. 

Bakewell and Brown(Architects). John Bakewell, Jr. San Francisco. Born in Topeka, Kansas1872. Studied at the Beaux Arts Paris. Arthur Brown, Jr. San Francisco. Born in Oakland, California, 1874. Studied in the University ofCalifornia and at the Beaux Arts in Paris. Horticultural Palace. 

Bateman, John(Sculptor) New York. Born in Cedarville New Jersey 1877. Studied in theSchool of Industrial Art. Philadelphia and in Paris. Caryatides outsideof Horticultural Building. 

Bayley, Guy L. (Electrical Engineer) San Francisco. Born in Vacaville, California, 1875. Studied at University of California. Chief of Electric andMechanical Department. 

Beach, Chester(Sculptor) New York. Born in San Francisco, California, 1881. Studied inParis, New York and Rome. Groups on tower on Court of Abundance. 

Bennett, Edward(Architect) Chicago. Preliminary Plans of Exposition. 

Bitter, Karl(Sculptor). Born in Vienna, Austria, 1867. Died April 10, 1915, NewYork. Studied at Vienna Academy of Fine Arts. Chief of Sculpture. 

Bliss and Faville(Architects) Walter D. Bliss, San Francisco. Born in Nevada, 1868. Studied in the Massachusetts Institute of Technology and abroad. WilliamB. Faville, San Francisco. Born 1866. Studied in the MassachusettsInstitute of Technology. Main Buildings forming center unit of eightPalaces. 

Boberg, Ferdinand(Architect) Stockholm. Born in Falun, Sweden, 1860. Swedish Building. 

Borglum, Solon H. (Sculptor) New York. Born in Ogden, Utah, 1868. Studied in Art Academyof Cincinnati, and in Paris. The Pioneer. 

Bourgeois, Jean Louis(Architect) Born in Autun, France, 1876. Died February 26, 1915, inFrance. Collaborated with Bakewell and Brown in Horticultural Buildingdesign. 

Boutier, Eugene Louis(Sculptor) Frieze at Base of Spires on Horticultural Building. 

Brangwyn, Frank(Painter) London. Born in Bruges, Belgium, 1867. Mural paintings of theFour Elements in the Court of Abundance. 

Bufano, B. (Sculptor) New York. Medallions on the arches in Court of the Universe. 

Burditt, Thomas H. (Architect) San Francisco. Born in Nellore, India, 1886. CaliforniaState Building. 

Burroughs, Mrs. Edith Woodman(Sculptor) Flushing, Long Island. Born in Riverdale-on-Hudson 1871. Studied in Art Students League of few York and in Paris. Fountain ofYouth. 

Calder, A. Stirling(Sculptor) New York. Born in Philadelphia 1870. Studied in PennsylvaniaAcademy of Fine Arts and in Paris. Acting Chief of Sculpture. Fountainof Energy; The Star in Court of the Universe; Flower Girl in Court ofFlowers; Nations of the East; Nations of the West, in collaboration withF. Roth and Leo Lentelli. 

Carrere and Hastings(Architects) John M. Carrere, deceased. Thomas Hastings, New York. BornNew York, 1860. Studied in Beaux Arts, Paris. Tower of Jewels. 

Cummings, M. Earl(Sculptor) San Francisco. Born in Salt Lake City, Utah, 1876. Studied inSan Francisco and Paris. Repeated figure in Portal of Vigor. Palace ofFood Products. 

Denneville, Paul E. (Architectural Sculptor) New York. Born in Ancy France, 1873. StudiedCooper Institute New York, and abroad. Travertine finish of buildings. 

Dodge, William De Leftwich(Mural Painter) New York. Born in Liberty, Virginia, 1867. Studied inMunich and Paris. Two Murals in Tower of Jewels. 

Dumond, Frank V. (Painter) New York. Born in Rochester New York, 1865. Studied in Paris. Two Murals in arch of Setting Sun. 

Ellerhusen, Ulric H. (Sculptor) New York. Figures in attic of Rotunda and repeated frieze atbase of Fine Arts Building. 

Farquhar, Robert David(Architect) Los Angeles. Born in Brookline. Massachusetts, 1872. Studiedat Harvard and at Beaux Arts, Paris. Festival Hall. 

Flanagan, John(Sculptor) New York. Born in Newark, New Jersey, 1865. Studied inBoston, New York and Paris. Figures on Tower of Jewels. 

Fraser, James Earl(Sculptor) New York. Born in Winona. Minnesota, 1876. Studied in Paris. The End of the Trail. 

French, Daniel Chester(Sculptor) New York. Born in Exeter, New Hampshire, 1850. Studied inBoston, New York and Florence. Genius of Creation. 

Fry, Sherry E. (Sculptor) New York. Born in Creston, Iowa 1879. Studied in ArtInstitute, Chicago, and in Paris. Figural decorations on Festival Hall. 

Garnett, Porter(Writer) Berkeley. Born in San Francisco, California, 1871. Selection ofinscriptions on monuments and arches. 

Gerlach. Gustave(Sculptor) Weehawken, New Jersey. Tympanum panels north and southentrances Palace of Education. 

Gruppe, Carl(Sculptor) New York. Fairy figure on Italian towers. 

Guerin, Jules(Painter) New York. Born in St. Louis Missouri, 1866. Studied in Americaand abroad. Director of color and decoration. Color scheme. 

Harley, Charles R. (Sculptor) New York. Born in Philadelphia, Pennsylvania, 1864. Studiedin Pennsylvania Academy of Fine Arts and in Paris. "The Triumph of theField" and "Abundance, " on west facade of main buildings. 

Hassam, Childe(Painter) New York. Born in Boston, Massachusetts, 1859. Studied inParis. Lunette, Fruits and Flowers, in Court of Palms. 

Holloway, Charles(Painter). Lunette, The Pursuit of Pleasure, in Court of Palms. 

Hornbostel, Henry(Architect) New York. Born in Brooklyn New York, 1867. Studied in NewYork and Paris. Pennsylvania State Building. 

Howard, John Galen(Architect) Berkeley. Born in Chelmsford Massachusetts, 1864. Studied inBoston and Beaux Arts, Paris. Exposition Auditorium in the Civic Centerin collaboration with Frederick Meyer and John Reid, Jr. 

Jaegers, Albert(Sculptor) New York. Born in Elberfeld, Germany, 1867. Studied abroad. Figures of Harvest Rain and Sunshine, and Bulls in Court of FourSeasons. 

Jaegers, August(Sculptor) New York. Born in Barmen, Germany, 1878. Studied in Paris. Spandrels and attic figures in Court of Four Seasons. 

Kelham, George W. (Architect) San Francisco. Born in Manchester, Massachusetts, 1871. Studied at Harvard. Director of Architecture. Courts of Palms andFlowers. 

Konti, Isidore(Sculptor) New York. Born in Vienna, Austria, 1862. Studied in ImperialAcademy, Vienna. Frieze at base of Column of Progress. 

Laessle, Albert(Sculptor) Philadelphia. Born in Philadelphia Pennsylvania, 1877. Studied in Philadelphia. Lions in Court of Flowers. 

Lentelli, Leo(Sculptor) New York. Born in Bologna, Italy, 1879. Figures on decorativeshafts in Court of Abundance; Nations of the East and Nations of theWest in collaboration with Stirling Calder and Frederick Roth. 

Longman, Miss Evelyn Beatrice(Sculptor) New York. Born in Winchester, Ohio, 1874. Studied in Chicagoand New York. Fountain of Ceres. 

Lundborg, Florence(Painter) San Francisco. Born in San Francisco. Studied in San Franciscoand in Paris. Mural decorations in Tea Room of the California Building. 

McKim, Mead and White(Architects) New York. Living members of the firm: William R. Mead. Bornin Battleboro, Vermont 1846. Studied at Amherst and in Europe. W. SymmesRichardson. W. Mitchell Kendall. Court of the Universe. 

McLaren, John(Landscape Engineer) San Francisco. Born in Scotland. Horticulturaleffects. 

MacNeil, Hermon A. (Sculptor) New York. Born in Everett, Massachusetts, 1866. Studied inBoston and Paris. Adventurous Bowman and frieze of Toilers on Column ofProgress. 

Manship, Paul(Sculptor) New York. Groups in Court of Universe. 

Markwart, Arthur(Engineer) San Francisco. Born in Illinois, 1880. Studied at Universityof California. Assistant Chief of Construction. Structural design ofMachinery Palace. 

Mathews, Arthur F. (Painter) San Francisco. Born in Wisconsin, 1860. Studied in Paris. Lunette, the Victorious Spirit, in Court of Palms. 

Maybeck, Bernard R. (Architect) San Francisco. Born in New York, 1862. Studied in BeauxArts, Paris. Palace of Fine Arts. 

Meyer, Frederick(Architect) San Francisco. Born in San Francisco, California, 1875. Studied in America. Exposition Auditorium in Civic Center incollaboration with John Galen Howard and John Reid, Jr. 

Mullgardt, Louis Christian(Architect) San Francisco. Born in Washington, Missouri, 1866. Studiedat Harvard. Court of the Ages, also named Court of Abundance. 

Nahl, Perham W. (Painter) Berkeley. Born in San Francisco, California, 1869. Studied inHopkins Institute, San Francisco, and in Europe. Exposition Poster, "TheThirteenth Labor of Hercules. "

Newman, Allen G. (Sculptor) New York. Born in New York, 1875. Pupil of J. Q. A. Ward. Conquistador and Pirate on north facade main buildings. 

Niehaus, Charles H. (Sculptor) New Rochelle, New York. Born in Cincinnati, Ohio, 1855. Studied in Cincinnati and Munich. Cortez. 

Patigian, Haig(Sculptor) San Francisco. Born in Armenia 1876. Studied in Paris. Decorations of Machinery Hall. 

Piccirilli, Furio(Sculptor) New York. Born in Massa, Italy, 1866. Pupil of Accademia SanLuca, Rome. Groups of Four Seasons in Court of the Four Seasons. 

Polk, Willis(Architect) San Francisco. Preliminary plans of Exposition. 

Putnam, Arthur(Sculptor) San Francisco. Born in New Orleans, 1874. Mermaid in SouthGardens. 

Reid, John, Jr. (Architect) San Francisco. Born in San Francisco 1880. Studied in theUniversity of California and the Beaux Arts, Paris. ExpositionAuditorium in Civic Center in collaboration with John Galen Howard andFrederick Meyer. 

Reid, Robert(Painter) New York. Born in Stockbridge, Massachusetts, 1862. Studied inBoston, New York, and Paris. Decorations in Rotunda of Fine Arts Palace. 

Rosse, Hermann(Designer and decorator) Palo Alto. Born in The Hague, Holland, 1887. Studied at The Hague, at Delft, Holland, and South Kensington, London. Decorative color scheme and mural painting in Netherlands Building. 

Roth, Frederick G. R. (Sculptor) Englewood New Jersey. Born in Brooklyn, New York, 1872. Studied in Vienna, Nations of the East and Nations of the West incollaboration with Stirling Calder and Leo Lentelli. 

Rumsey, Charles Cary(Sculptor) New York. Pizarro. 

Ryan, Walter. D'Arcy(Electrical Engineer) San Francisco. Born in Kentville, Nova Scotia, 1870. Educated in Canada. Chief of Illumination. Lighting scheme. 

Simmons, Edward(Mural Painter) New York. Born in Concord, Massachusetts 1852. Studiedin Paris. Murals in Arch of the Rising Sun. 

Stackpole, Ralph W. (Sculptor) San Francisco. Born in Oregon, 1885. Studied in Paris. Kneeling figure in front of Fine Arts rotunda. Figures on columnsflanking Portal of Thought and Portal of Vigor. Figures in doorway ofPalace of Varied Industries. 

Tonetti, F. M. L. (Sculptor) New York. Born in Paris, France, in 1863. Studied in Paris. Armored horseman on Tower of Jewels. 

Trumbull, Edward(Painter) Pittsburgh. Born in Stonington, Connecticut, in 1884. Muraldecorations, Penn's Treaty and Pittsburgh Industries, in PennsylvaniaBuilding. 

Ulrich, Louis(Sculptor) New York. Winged Victory on gables of all palaces. 

Walter, Edgar(Sculptor) San Francisco. Born in San Francisco, in 1877. Studied inParis. Fountain of Beauty and the Beast in Court of Flowers. 

Weinert, Albert(Sculptor) New York. Born in Leipzig, Germany, in 1863. Studied inLeipzig and Brussels. Spandrels in Court of Palms; Decorative finialfigure, in Court of Abundance repeated figure in Portal of Thought, etc. 

Weinman, Adolph A. (Sculptor) New York. Born in Karlsruhe, Germany in 1870. Studied in ArtStudents League, New York. Rising and Setting Sun. 

Ward and Blohme(Architects) Clarence R. Ward San Francisco. Born in Niles Michigan, in1976. Studied in America. J. H. Blohme, San Francisco. Born in SanFrancisco in 1878. Studied in America. Machinery Palace. 

Whitney, Mrs. Harry Payne(Sculptor) New York. Fountain of El Dorado

Young, Mahonri(Sculptor) New York. Born in Salt Lake City Utah, in 1877. Studied inNew York and Paris. Frieze over main portals Manufacturers and LiberalArts Palaces. 

Zimm, Bruno Louis(Sculptor) New York. Frieze, Rotunda, Fine Arts Building. 

The Art of the Exposition, by Eugen Neuhaus, published by Paul Elder andCompany, San Francisco, was printed at their Tomoye Press, under thedirection of John Swart, in May and reprinted in June and again inAugust Nineteen Hundred and Fiftee