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The whole court is an expression of the abundance of the harvests - especially those of California.
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Ceres, the goddess of agriculture, with her wreath of cereals and her corn sceptre, has just poised on the top of the lovely fountain (by Mrs. Evelyn Longman), the die of which tells you by its cameo figures that this is the fountain of young, fresh, joyous nature. The graceful, happy creatures with garlands and fruits glide past you in song, shaking the tambourine or softly piping their roundelays.
Jolly satyrs, the happy creatures of the woodland, spout water into the basin below.
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The Food Products Palace is on one side, the Agricultural Palace on the other, and the suggestions worked out in the corn of the Ionic capital, the cereal wreaths on the frieze, the sheaves of wheat, are most happy decorations for just this court.
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Pass to the Pool beyond and stop to read the quotation. (from Spenser's "Faerie Queene") on the western gateway.
"So forth issew'd the seasons of the yeare First lusty spring all dight in leaves and flowres Then came the jolly sommer being dight in a thin silken cassock coloured greene Then came the autumne all in yellow clad Lastly came winter, clothed all in frize Chattering his teeth, for cold that did him chill."
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Facing the half dome, walk first to the second niche to the right of the colonnade to examine Furio Piccirilli's Seasons.
Spring - A pyramidal group with Spring with her flowers in the center of the group. To the right is modest, timid, fresh young Flora, bringing her wealth of flowers.
To the left, one sees man adoring, bringing to mind Tennyson's lines from Locksley Hall.
"In the spring a young man's fancies Lightly turn to thoughts of love."
Here is that fine feeling that one has in beautiful springtime - the adoration for all fresh young life. Look above now at Milton Bancroft's murals to left and right. He has painted all of the murals in this court.
"Spring" is here in floral dress and the shepherd pipes sweet notes.
"Seed-time" - This is the time when the seed bag stands open so that the crops for the coming year may be sown.
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Marble group of Summer - Go to the left, along the corridor beyond the gateway, to the second niche - this group expresses fruition.
The mother brings to her husband the babe, the fruit of their love.
The laborer at the right brings in the first harvest.
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Murals
Summer - This is the period of the year when man amuses himself, when the games are in progress. One sees the disc thrower at the left resting after the game. Summer is crowning the victor of the canoe race.
Fruition - Fruits, vegetables, flowers fulfill the meaning of the subject.
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Now pass out into the open to the niche at the left of the gateway of the east.
In the niche is Autumn, a mature figure indicative of the maturity of the year. (Mr. Piccirilli calls her Providence.) It is the time of the harvests. The apples, the grapes, and even the human family are being harvested. The wine is being made and the great vine-decked jars are filled with the ruby fluid.
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Murals
Autumn - The colors speak of autumn. Here is seen the amphora of wine, the tambourine, the rhyton, the Greek drinking horn, and the raised Greek cup - all suggesting the time of festivity after the harvests.
Harvest, and one sees the garnered wheat and vegetables.
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Standing between the two central columns and looking toward the half dome, the eye wanders to the summit, and there, seated on her great cornucopia, the symbol of abundance, is Harvest with her plenteous supply of luscious fruits.
The dates from the south are being borne in on one side, while the great sheaves of wheat are seen on the left.
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Standing on the pedestal at the right of the half dome is Rain (by Albert Jaegers) catching the drops in her shell.
Sunshine (by Albert Jaegers) shielding her eyes with the long palm branch - the rain and the sunshine so necessary for the harvests.
Walk over to see the detail of the capitals and bases of the columns.
On the capitals of these pedestals, on which Rain and Sunshine stand, are the small figures of harvesters - a most charming, original treatment.
At the bases one sees harvest scenes.
The agriculturists pass along to their labors. The women and children accompany the laborers, expecting to help in the many duties of the harvest field. The dog, wagging his tail, follows after the children, and all is activity.
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You will now find it convenient to examine the murals on either side the great half dome.
Facing the Dome.
On the right is Man Receiving Instruction in Nature's Laws. The work is perfectly plain. You could not go astray if you simply read the inscriptions.
An interesting thing to notice is that "Mother Earth" is a man bearing fruits and that "Father Neptune" is a woman with a trident.
Nature's laws are applied to:
Earth, Water, Fire. Love, Life (protecting the flame of life) and Death.
On the left is:
Art Crowned by Time.
The queen of art with her sceptre and palette (with the suggestion of architecture in the temple in the background) is crowned by Father Time, holding his hour-glass. His scythe is seen in the background. Time is bestowing the laurel wreath. At the sides stand the arts of -
Jewelry making, Weaving, Glass making, Painting, Smithery, Pottery.
The emerald pool is before you wreathed with the cotoneaster bufolia with its wealth of red berries.
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Pass now to the last season of the year in the niche to the left of the half dome, Winter.
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Before you is naked winter. Back of her is the leafless tree, with splitting bark.
At the left one feels that man rests after the activities of the harvest season, but there is an added idea in Mr. Piccirilli's words, "In winter, the central figure is Nature resting, or rather in a state of conception. To the right an old man is resting after having prepared the soil for the seed; at the right a strong man is sowing."
Murals
Winter with the snow on the ground.
The fire is necessary; faggots have been gathered; the animals are brought in for the winter food.
The time for spinning has arrived during the long winter evenings (considering the life of today this idea is almost obsolete).
Festivity - Winter strikes the strings of the harp and gaiety is about to glide forth.
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The seasons are again suggested by names of the signs of the zodiac on the gateways,
Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces.
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Look thru the entrance into the Court of Palms at the Horticultural Palace across the way - a fine green and white picture.
Turn back into the Court of the Four Seasons and below the half dome will be seen Albert Jaeger's
Nature (there is a great probability that this will not be placed).
Mother Earth, the great mother, sits in the center.
On the left, carrying the shell, is the Sea.
On the right, upholding the globe, is the Heavens.
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Read the quotation from George Sterling's "The Triumph of Bohemia" to make the connection with your Nature group:
"For lasting happiness we turn our eyes to one alone And she surrounds you now Great Nature, refuge of the weary heart, and only balm to breasts that have been bruised She hath cool hands for every fevered brow And gentlest silence for the troubled soul."
Near by are August Jaeger's figures of Abundance, four times repeated on each gateway; also his spandrel figures, still adding harvest thoughts.
Walk along the colonnade to the right -
As you pass the fountains, you will notice how the water slips its silvery pink reflection from the wall down the terraces into the pool below, producing almost a sunrise or a sunset effect.
The long hanging vine on the wall above is muhlenbeckia, the so-called maidenhair vine.
The shorter vine is lotus bertolletti, showing later its red claw-like flowers.
Court of Palms
As a balance to the Court of Flowers at the east end of the block of palaces is the Court of Palms at the west end.
The general effect in color of decoration is pink and blue.
The columns are coupled Ionic of smoked ivory, producing a most lovely effect against the pastel pink walls back of them.
The caryatids lining off the pink and blue marble panels show a soft flush of pink. (These are by A. Stirling Calder and John Bateman.)
The festoons of fruits at the side of the panels are accented in deeper blues and soft reds.
Notice the delicate figures on either side the cartouche over the portals. The pinks and blues are so delightfully combined.
Between the columns, against the wall, are balled acacias.
The Pool in the center of the Court might be called The Pool of Reflections.
In front of this Court is "The End of the Trail," by James Earle Fraser.
Before you is the end of the Indian race. The poor Indian, following his long trail, has at last come to the end. The worn horse and its rider tell a long, pathetic story.
By the entrances are great vases on which in low relief are Bacchanalian scenes. Satyrs form part of the handles.
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Over the doorways are beautifully colored murals.
On the west -
Fruits and Flowers, by Childe Hassam, a fine area of superb color.
On the east -
The Pursuit of Pleasure, by Chas. Holloway, gracefully carrying out the idea of this court.
On the north -
"Victorious Spirit," by Arthur F. Matthews.
This wonderful golden note represents the Victorious Spirit, the Angel of Light, with widespread wings of protection. She is the means by her gentle influence of keeping materialism (represented by the horse driven by brute force) from riding over the higher expressions of life.
Muhlenbeckia borders the pool, producing a most fernlike effect.
At the side, in front of the flanking Italian Towers, are erica and epacris, in lavenders and pinks, accented by deep lavender pansies.
The tiny border to the beds is myrtus ugni. The wallflowers, interspersed with Spanish and English iris, are massed thruout this court, with rhododendrons in the corners. Against the foundations is pink-and-cream lantana.
The Palm is the strong feature of the court. On either side the portal Italian cypresses have been used.
The lanterns in the corridors have been modeled from Roman lamps, and are particularly beautiful in perspective.
The Court of Flowers Dedicated to the Oriental Fairy Tales.
This exquisite court is by Geo. Kelham of San Francisco, who came from New York just after the San Francisco fire to help in the reconstruction of the city.
He is a man of pronounced ability and has just won in the competition for plans for the new San Francisco Public Library.
The court is made one of great beauty by the collaborated work of Mr. Geo. Kelham, the architect; Mr. Jules Guerin, the colorist, and Mr. John McLaren of San Francisco, the chief of landscape gardening.
A loggia runs around the second story of the court, interrupted along the face by niches which hold "The Oriental Flower Girl," designed by Mr. A. Stirling Calder of New York, but worked out in the studio of the Exposition.
Coupled columns, suggesting glacial ice, form a colonnade around three sides of the court, the fourth side opening into the Avenue of Palms.
As you walk down the main path of this court you are held spell-bound by the fairy-like appearance of the albizzia lophantha, trimmed four feet in height, the top of which branches out into a head five feet across.
One has the feeling of meeting fairies with their skirts out ready for the dance - a veritable fairy ballet. Nothing could be more lovely than this remarkably treated tree. The rich yellow fluff that will soon appear, lasting for some four to six weeks, will be one note of the yellow chord to be struck in this court-pansy, daffodil, albizzia, the orange and the yellow background of niches. (This floral music for March and April.)
A symphony in yellows.
The groups of trees at the north are the eugenia myrtifolia.
Every one appreciates the blessing of the trees and flowers, without which the Exposition would have lost much of its beauty.
The flowers used at the opening of the Exposition can alone be given, but these will serve to show the plan of arrangement.
The six lions are by Albert Laessle, who has many fine examples of his animal life in the Fine Arts Palace.
The fountain of Beauty and the Beast, which should have been placed in the Court of Palms, the Court of Occidental Fairy Tales, is by a young San Franciscan, Edgar Walters, whose fine bears can be seen in the Fine Arts Palace.
The base of the fountain shows a procession of beasts - the bear, the cynocephalus ape, the lion.
Upholding Beauty and the Beast are fauns and satyrs, playing on their pipes.
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Walk down the colonnades and take note of the coupled smoked ivory pilasters on the pink ground.
A fawn-colored ceiling has suspended from it Italian bronze lanterns - the bronze suggestive of the color of the blue eucalyptus. At night these lanterns glow with color.
In front of the Court of Flowers is "The American Pioneer," a fine meaningful equestrian figure, by Solon Borglum of Ogden, Utah.
I am taking the liberty of quoting Secretary Lane's inspiring words given at the opening of the Exposition - a fine retrospect that we must not lose sight of when we look upon the determined woodsman of the early American life:
As I went through these grounds yesterday, I looked for some symbol that would tell me the true significance of this moment, I saw that the sculptor had carved prophets, priests and kings; he had carved the conquerors of the earth, the birds in the air and the fish in the sea. He had gone into legend and history for his symbols, but in none of these did I find the suggestion that I sought.
I found, however, in the court that lies before us, the simple, modest figure hidden behind some soldiers - a gaunt, slim, plodding figure, and I said to myself, there is the figure that represents this day, for without the American pioneer we would not be here this day, no banners would be flying, no bands playing.
He has-lived for centuries and centuries. He took sail with Ulysses and he was turned back. He took sail with Columbus, and when he heard that sailor shout, "Sail on and on," his heart was glad; but Columbus found his way barred, and then this pioneer landed at Plymouth Rock, and with that band of oxen he has trudged his way across the continent, he has gone through the sodden forests, where Nature for a thousand years has conspired to make his pathway impossible.
He has gone through the icy streams, climbed the mountains, tracked his way over the plains, over the land where there is no horizon, gone through the gorges where the Titans have been, and at last he has got it, beside the Golden Gate, beside the sunset sea, and founded himself this city, this beautiful city of dreams that have come true. And he has done more than that, he has gathered around himself his sons, and now they set themselves down here to tell each other tales of their progress through the centuries.
The sons of the pioneers - theirs be the glory today, for they have slashed the continent in two, they have cut the land that God made as with a knife, they have made the seas themselves to lift the ships across the barriers and mountains, and this accomplishment we celebrate.
They have brought the waters of the far Sierras and turned these waters into living light that put new stars in the heavens at night. They have hung their sky-line with a garden of flowers; they have worked a magic. They have gathered here in all these temples to tell their victory - the pioneers - what they have done and in what manner. This city has been finished in blue and gold, in scarlet and purples and the greens of the sea, and burnt brown, and the scene shown the pioneer has made the architecture of the centuries to march before their eyes in columns and colonnades.
The long journey of this light figure of the pioneer is at an end, the waste places of the earth have been found and filled, but adventure is not at an end; the greatest adventure is before us, the gigantic adventures of an advancing democracy - strong, virile and kindly - and in that advance we shall be true to the indestructible spirit of the American pioneer.
The Italian Towers
Architect - Geo. Kelham of San Francisco.
Architecture - Italian Renaissance with Byzantine touches. (See picture facing page 22.)
These very beautiful towers are seen in pairs on either side The Court of Flowers and The Court of Palms, and assist in the fine balance preserved thruout the block of palaces.
They are not alike, as you will see when you examine them. The pair flanking The Court of Flowers is far simpler, and produces quite a different effect, when illuminated, from its sister towers.
The vibrant red that seems to give throbbing life to these beautiful towers is one of the chief glories of the night-glow.
The entrances at the base of the tower are accented by magnificent Siena marble columns, and the coloring from these entrances to the top of the towers is most unique.
The long rectangular height is admirably treated with a most original diaper design.
Jules Guerin, the colorist, has used small areas of color on the towers to play upon the color of the courts below.
For instance, note the pastel-pink walls, the greatest color area of the courts reflected, as it were, upon the largest colored area of the towers; the travertine of the courts acting as a background for the towers, the burnt orange capitals shown in the use of the same color on the tower, the Indian red appearing through the design as it appears on the capitals.
The result is a sort of dissonance that makes the harmony of the courts more charming than ever.
The most adroit management of the blue-checkered border is seen. It is the means of drawing your colored diaper work toward that blue background, the sky, and is superb in its connecting force.
The little towers above, with the turquoise-blue columns, show a most daring use of color when you consider the colors below, but how admirably that turquoise blue works onto the domes and the blue columns of The Tower of Jewels.
The longer you look at the Italian Towers the more you come to feel their subtle connection with the beauties around.
Only a genius could manipulate his colors as Jules Guerin has done in this splendid work before you.
The repeated cartouche in turquoise blue has a most lovely effect upon the whole.
Poised on the top of the Italian Towers is The Fairy (by Carl Gruppe). She looks afar and sees the vision of this wondrous Exposition.
The Palace of Fine Arts
Architect - Bernard R. Maybeck of San Francisco.
Architecture - Old Roman in the main, with Italian Renaissance features. In the background is the fire-proof art gallery of 113 rooms.
In front is a pergola, extending along an arc 1100 feet from end to end. Ochre columns are closely grouped with pale green ones.
The Roman Corinthian capitals are burnt orange with an Indian-red ground.
The columns sweep forward on either side the rotunda, in the dome of which are Robt. Reid's eight murals.
1st Panel - Birth of European Art.
The central point of the picture is the altar on which is seen the sacred fire. The guardian of this altar holds the torch. She has three attendants, one holding a flask of oil, one pouring oil upon the altar and ready to apply the torch should the flame grow dim, a third one carefully watching the flame. An earthly messenger, holding back his rearing steeds, leans from his chariot to receive the torch of inspiration. A winged attendant checks for an instant the flight of these steeds. In the left corner a woman holds a crystal ball in which the future of art is revealed.
2nd Panel - The Birth of Oriental Art.
The forces of earth try to wrest inspiration from the powers of the air. This is shown in an ancient Ming legend.
We see a Chinese warrior, mounted on a writhing dragon, combating an eagle. Japan is seen under the great umbrella. Two more Oriental figures are seen.
3rd Panel - Ideals in Art.
Greek ideal in the classic nude is seen.
Religion - Madonna and Child.
Heroism - Joan of Arc.
Youth and Material Beauty - Young woman on the left.
Absolute nature without ideal or inspiration - peacock.
Mystic figure in background holds cruse of oil to pour onto the sacred flame.
A winged figure floats above with laurels for the victorious living.
A shadowy figure in foreground holds the palm for the dead.
Panel 4 - Inspiration in All Art -
Music, Painting, Architecture, Poetry, Sculpture.
The torch that kindles the arts is again seen.
The veil of darkness is drawn back, revealing the arts.
There are also four panels showing the four golds of California -
Gold, Wheat, Poppies, Oranges.
"The whole scheme is to show the conception and birth of art, its translation to earth, its progress and acceptance by man."
Below these murals, on the octagonal drum, is The Priestess of Culture, by Herbert Adams, eight times repeated.
This outline has been taken from the official report.
The dome of the Rotunda is burnt orange, with the guilloche below it worked out in turquoise green. Notice the great flower receptacles filled with the reddish cryptomeria of Japan.
In front of the Rotunda is Ralph Stackpole's Kneeling Figure. She is a devotee to art, beauty, truth, and kneels at the altar.
Among the trees along the pergola are many statues in bronze and marble.
Don't fail to see Janet Scudder's bewitching fountain figures as you walk past the Pergola.
At the south, near the Pool, among the trees, sits St. Gauden's fine "Lincoln."
Opposite is J. Q. A. Ward's statute of "Henry Ward Beecher."
Around the corner, "The Bisons," by Proctor.
Follow along by the Pool and you meet "The Scout," by Cyrus Dallin.
No words can describe the great poetic beauty of this Fine Arts Palace. It seems to be the pivotal part of the Exposition, the goal of all pilgrimages, the altar on which you place your ideals. It has so many moods that one must see it in all seasons, during all times of the day, and especially under the illuminations.
The figure of "Aspiration," by Leo Lentelli, is suspended - as is all aspiration - over the main entrance of the Fine Arts Palace.
Walk over to Administration Avenue so that you can look across the Pool at the panels.
They are by Bruno Zimm of New York.
They represent the Arts and a long procession of devotees.
In the center of one panel, called "The Unattainable in Art," one sees Art represented. On either side is the battle between the idealists, the materialists and the artists.
Many idealists have fallen, but the centaurs, the materialists, seem to be held back by the artists who are striving to reach Art herself.
We are all striving to reach the so-called unattainable, but it means the battle with materialism before we can do it. Yonder stand beauty, health, truth - the flowers of the spirit - but we must pass the centaur to make that figure of Truth attainable.
Then comes the Apollo Panel, and Apollo, the leader of the arts, in his chariot, seems to be in a long procession preceded and followed by devotees of the fine arts.
Next comes the Pegasus Panel, indicating inspiration in the arts. Ahead, marches Music with his lyre, who, like a sort of Orpheus, is stilling even the beasts.
The figures between the panels represent those who stand ready to do battle for the arts.
Ulric H. Ellerhusen has done the flower boxes, with women at the corners. Vines were to have fallen over the figures from the boxes, allowing only a shoulder, a head, or a long line of the drapery to appear, but the plans had to be changed, hence the figure now in full evidence. The women are looking into the flower-laden boxes.
As you stand by the Pool, notice the shrubs and flowers near by.
Near the columns are Monterey cypresses. Grey-green artemisia is between the columns. Ten thousand periwinkles are on the banks. Five thousand Spanish iris. Many Japanese iris. California incense shrub. Yellow primroses. One thousand white callas. One thousand yellow callas. One thousand California violets. The shiny-leaved coprosma from Chili. Blue-flowered buddleia. Groups of pittosporum. Pampas grass from Brazil. Hundreds of daffodils (in March). The weeping willows.
A great group on the north of erica, epacris, and cryptomeria.
Across from the erica is the red-berried cotoneaster horizontalis.
Near the columns on the north side by the Pool grows the purple agapanthus.
The Catalina cherry is massed against the building on the north.
The pink-flowered escallonia is found under the columns near the Pool. The orange-berried pyracantha cretaegus is seen in all its glory on the north.
Heliotrope makes the air one of sweet perfume. Polygala, with pea-like blossom, is seen near the base of the columns.
In the Pool have been put five hundred papyrus plants and five hundred Japanese water lilies.
These are a few of the many wonderful blooms seen here.
The vistas and reflections are ever new and beautiful from every turn of the Pool.
Palace of Horticulture
Architects - Bakewell and Brown of San Francisco.
Architecture - Byzantine in the arrangement of the domes (the mosque of Ahmed I of Constantinople being the inspiration) and in the use of tall finials suggesting minarets, but quite French in its ornamentation.
The building is one of great beauty and is considered one of the finest exhibit palaces ever erected at any exposition.
The ornamentation below the dome is by Boutier.
The Caryatids of the Caryatid Porch are by John Bateman of New York.
The great opulence of the harvests of California is brought to mind by the lavish abundance of the ornamentation on this building.
The combination of the smoked-ivory color of the travertine and the lattice green of the decorations produces a more lovely effect.
The basket atop is over thirty-three feet in diameter.
The dome is 152 feet in diameter. St. Peter's dome is 137 feet; the Pantheon dome is 142 feet.
Under the dome will be a constant display of hothouse plants. At the opening of the Exposition were seen cinerarias and cyclamen of glorious hue.
A wonderful display of orchids is seen in another portion of this great building.
Those interested in orange packing will have a chance to see the different stages of the packing as shown from the arrival of the fruit at the packinghouse to the nailing of the cover on the box.
A model olive-oil press is in working order and will afford great interest.
Great steel framework will enable the vast amount of glass of the dome to withstand the wind pressure.
The dome will be illuminated three times a week.
It will at times look like a great pearl or a fiery opal.
Luther Burbank, the wizard of horticulture, and Carl Purdy, of bulb and wild flower fame, will have headquarters at this palace during the entire Exposition, ready to answer and help those who apply to them.
Sixty-five acres of land are to be devoted to horticultural interests.
The Netherlands have fifty-three thousand square feet in a wonderful display of bulbs and other plants.
Horticultural Interests
All the areas on the Exposition site were composed of drifting sands or sands that had been pumped in from the bay, upon which no ornamental plant could grow.
It was necessary to bring down from the Sacramento Valley rich soil (fifty thousand cubic yards), and spread sixteen thousand cubic yards of fertilizer over that, in order to maintain lawns, trees and shrubs.
An immense number of trees, ranging from thirty to sixty feet in height, were moved from Golden Gate Park and the Presidio of San Francisco. It is the largest number of evergreen trees ever moved in connection with any landscape work.
Many plantings will be made thruout the Exposition. It will require the moving of four hundred thousand plants each time a change is made.
Work on the eucalyptus trees was started two years ago, when the plants were six inches high, in flats.
These little trees were transferred into other flats and placed on hot beds. After six weeks of this treatment they were transferred to 12-inch boxes. They remained there for a period of eight months and then were put into 18-inch boxes and made a vigorous growth. They are now 25 feet in height.
In boxing large specimen trees the following method was adopted: The trees were side-boxed, and, after the roots were cut, three inches of space was allowed between the ball and the sides of the box, and this three-inch space was secured with good surface soil so as to start side-root action.
The plants were mulched and watered for a period of from four to six months, when the bottom of the box was put on. This method has been most successful in transplanting palms and trees in general.
(These facts were kindly given by Mr. Donald McLaren of the Department of Landscape Gardening, San Francisco.)
The South Gardens
Throughout the Exposition these garden beds are to show a succession of blooms. At the opening of the Exposition five thousand daffodils were in bloom over two hundred thousand yellow pansies.
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The South Gardens, besides having two great pools, at the end of which are the Mermaid Fountains by Arthur Putnam of San Francisco, have a most decorative fountain called the Fountain of Energy.
In the pool below are seen great sea animals, representing:
1. The Atlantic Ocean, with coral in hair and seahorses in her hand, riding on the back of an helmeted fish, suggestive of armored cruisers, etc.
2. The North Atlantic, an Esquimaux riding the walrus, ready to spear the enemy.
3. The South Atlantic, a negro riding on the back of a sea-elephant playing with an octopus.
4. The Pacific Ocean on the back of a great creature unknown on land or sea.
In the pool, on the dolphins' backs, ride most charming sea maidens.
Around the base of the earth are grouped sea spirits.
The earth shows on one side a great bull representing the Western Hemisphere, a great lioness denoting the Eastern.
One sees the swirling of the waters around the figure of Panama.
Surmounting the globe, standing in his stirrups, rides Energy, the force that has overcome the play of the waters and has put thru the Panama Canal. Energy is strongly suggested by this stalwart male, who rides on, having surmounted all difficulties. This is the great power that is responsible for the completion of the Panama Canal, and Fame and Victory blow bugles long and loud from his shoulders.
The idea of energy is further carried out by the splendid play of the waters from the fountain itself, tremendous force being evident.
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At the west end of South Gardens, opposite the Band Concourse, are most interesting groups of trees, shrubs and flowers. The members of different floral families have taken the opportunity of meeting and establishing themselves in the same neighborhood, and the result is delightful for the lover of flowers. Now is the time to study differences and similarities in the plant world - and our opportunities are appreciated.
Notice the splendid groups of trees and shrubs on either side of Horticultural Palace.
Monterey pines, Monterey cypresses, Lawson cypresses, acacias, laurustinus, veronicas and dahlias are grouped so as to make a most remarkable effect in form and color.
The Dracaena Canariensis or Canary palm, as we are in the habit of calling it, and the Washingtonia robusta, or California fan palm, are seen in alternate arrangement, double rows on either side the Avenue of Palms.
On the south side of the Exposition grounds is a wall, twenty feet high, of living green. It is made of mesembryanthemum spectabilis put in boxes, six feet by two by two and a half inches, filled with earth, over which is put a wire-mesh screen. This is the first time this work has been tried and it has proved to be a thorough success.
Festival Hall
Architect - Robt. Farquhar of Los Angeles, California, widely known for his fine domestic architecture.
On the south side of the Avenue of Palms, opposite the Court of Flowers, stands the building in which the majority of the musical festivals of the Exposition are to be held.
The main hall will hold three thousand people.
There are about five hundred conventions to meet here during the time the Exposition is open.
The organ, of marvelous tone and sweetness, is one of the finest in the world.
Edwin H. Lamare of London will give one hundred performances, each recital beginning at 12 M. He starts his musicals the first of June.
The building is French in style, having been inspired by the Beaux Arts Theatre, Paris.
It has a large dome, the cupola of which is lighted by projectors beneath the floor of the building.
Sherry Fry of Iowa has done the sculpture, all of it being suggestive of festivity.
Bacchus, with his grapes and wine skin, reclines on one side, while "The Reclining Woman" listens from her position.
On the west are two Floras with their festoons of flowers.
Little Pan sits with his panpipes on an Ionic capital over which is thrown a fawn skin. He has just stopped playing to watch the lizard that creeps at his side.
The Torch Bearer, a most graceful figure, is poised on each corner dome.
A border of pinkish-lavender hydrangeas, four feet in diameter, with a fringe of lavender and pink baby primroses, adds much to the beauty of this spot.
Pinkish-lavender erica, or heath, borders the steps leading from Festival Hall to the Avenue of Palms.
Above the western entrance one see the old Greek drinking horn, the rhyton, suggestive of festivity.
The Color Scheme
Jules Guerin, probably the greatest man in his particular line in the world, has had complete charge of the Exposition coloring.
He has used only five colors, but of course these colors are not all the same tone.
All walls are pastel pink or a sunset shade, as seen in the Court of the Ages. All niches are the same shade.
All ceilings and shells are ultramarine blue, with two exceptions. The Court of the Ages is a pastel blue, and that of the Court of Palms is fawn-color.
The domes of the Fine Arts Palace, and the Court of the Universe, are burnt orange, or, as one writer has expressed it, "sea-weed washed with brine."
The other domes are an oriental green, approaching copper-green.
The capitals when colored are burnt orange, with either an ultramarine-blue or an Indian-red ground. Columnettes and a few decorative bands are of turquoise-green.
There is a unity, a balance, a color beauty all unto itself. You see it in the architecture, sculpture, and painting, in the arrangement of the decorations, in the courts. Then over it all hangs the spirit of romance such as surrounds the days of old Castile.
A mediaeval beauty and splendor bring longings for the pageants that would add a world of interest.
There is a Graeco-Roman appeal in the long colonnades, the porticoes, the fountains, the courts.
The Orient is strongly marked by the domes, the minaret suggestions, the elephants, and minor details.
It is an Arabian-Nights-Tale - not a thousand and one nights, but two hundred and eighty-eight.
Siena marble is used mainly at entrances and for pedestals. The travertine is pinkish, grey and cream. Doorways in shadow are of lattice green. Flag-poles are colored Spanish red. Lighting standards are green, ochre, or eucalyptus blue. Banners are ochre and cadmium.
The world has never seen such an Occidental-Oriental harmony as in this Exposition.
The traditions of the olden days are so strongly worked into these palaces and courts that one feels more than he can tell when wandering in this world of beauty; and we the laymen owe a debt of gratitude to the architects, sculptors, painters, horticulturists, financiers, engineers and the workmen who have given us this dream city of 1915.
Index
Abundance Acroterium Adams, Herbert Adventurer Adventurous Bowman Agriculture Air Aitken, Robert American Pioneer Angel of Peace Apollo Panel Aquatic Maids Arch of Rising Sun Arch of Setting Sun Armoured Horseman Art Crowned by Time Arts Aspiration Atlas Autumn Bacchus Bacon, Henry Bakewell and Brown Bancroft, Milton Bateman, John Beach, Chester Beauty and the Beast Beecher, Henry Ward Bisons Borglum, Solon Brangwyn, Frank Bucrania Burden Bearers Burroughs, Edith Woodman Calder, A. Stirling Canephori Caryatids Ceres Cortez Crusader Cummings Dallin, Cyrus Edwin Dawn of Life Day Triumphant Deneville, Paul Descending Night Dodge, Frank de Leftwich Domes Dome of Philosophy Dome of Plenty Du Mond, Frank Vincent Eagles Earth Education Electricity Ellerhusen, Ulric H. Elwell, Frank Edwin Emerald Pool End of the Trail Fairy Farquhar, Robert Faville Feast of the Sacrifice Festivity, Fire Flanagan, John Fountain of El Dorado Fountain of Energy Fountain of Psychology of Life Fountain of Youth Four Golds of California Fraser, James Earle French, Daniel Cheater Fruits and Flowers Fruition Fry, Sherry Genii of Machinery Genius of Creation Gentle Powers of the Night Gerlach, Gustave Gruppe, Karl Guerin, Jules Harley, Charles Harvest Hassam, Childe Hastings, Thomas Helios Hermes Holloway, Chas. Hospice of Santa Cruz, Toledo Humphries, Charles A. Imagination Invention Jaegers, Albert Jaegers, August Joy of Living Kelham, George Kneeling Figure Konti, Isadore Laessle, Albert Lentelli, Leo Lesson of Life Lincoln, Abraham Lions Listening to the Sound of the Ages Longman, Evelyn McKim, Meade and White McLaren, John MacNeil, Hermon A. Man Receiving Instruction in Nature's Law (Mural) Manship, Paul Matthews, Arthur Maybeck, Bernard R. Men from Atlantic Mermaid Fountain Miner Mullgardt, Louis Christian Music Nahl, Perham Nations That Have Crossed the Atlantic (Mural) Nature Natural Selection Newman, Allen Niehaus, Charles Old World Handing Burden to New World Oriental Flower Girl Pan Panama Canal (Murals) Patigian, Haig Pegasus Pegasus Panel Peters Philosopher Piccirilli, Furio Pirate Pizarro Pool of Reflections Power of Industry Priest Priestess of Culture Priestess of Religion Primitive Man Proctor, P. Providence Pursuit of Pleasure Putnam, Arthur Rain Reclining Woman Reid, Robert Richardson, Symmes Rise of Civilization Rising Sun Roth, Frederick Rumsey, Charles Saint Gaudens, Augustus Scout, The Scudder, Janet Seed Time Setting Sun Simmons, Edward Spanish Cavalier Spring Stackpole, Ralph Star, Jeweled Stea, Cesare Steam Power Summer Sunshine Survival of the Fittest Thought Tonetti Torch Bearer Triumph of the Fields Unattainable In Art Varied Industries Victorious Spirit Walters, Edgar Ward, J. Q. A. Ward and Blohme Warrior Water Weinert, Albert Weinmann, A. A. Whitney, Gertrude V. Winter, Workman Young, Mahonri Zimm, Bruno Zodiac, Signs of
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