Palace of Food Products A View from the Fine Arts Laguna

The impression of unity of design in the main group of buildings is heightened by certain distinctive features which characterize all of them in common. On all, there is the central dome, which, with the repeated smaller domes on the corners, is the chief source of charm in the pronounced Oriental or Moorish effect when seen from a distance. The long, unbroken lines and wall spaces give a sense of repose and restraint and emphasize the richness and beauty of the entrances where the decoration is massed. The Palace of Food Products occupies the north-west corner of the main group of buildings. Its western exposure is Roman in design to harmonize with the Palace of Fine Arts on the opposite side of the laguna. Its dominant feature is the great half-dome, officially called "The Half Dome of Physical Vigor," which forms its west entrance. The tall Corinthian columns on either side support Ralph Stackpole's figure of "Youth" and crowning the smaller columns which line the dome are the repeated statues by Earl Cummings, portraying "Physical Vigor," from which the dome takes its name.



Palace of Education A View from the Fine Arts Laguna

The western exposure of the Palace of Education duplicates the same wall of the Palace of Food Products and the entire facade along the laguna is called the Roman wall, by reason of the thoroughly classic spirit in which it is conceived.

The half-dome here, as there, forms the architectural keystone, and in both buildings, the three niches on either side hold the same alternating figures. While the half dome, with its entire decorative treatment, belongs more fittingly to the Palace of Education, the sculptured figures in the alcoves, by Charles R. Harley, representing alternately "Abundance" and "The Triumph of the Fields," are more in keeping with the Palace of Food Products.

The north face of the Palace of Education, which opens on the Court of the Sunset, connecting Administration Avenue with the Court of the Four Seasons, duplicates the three Spanish doorways of its south facade; and in harmony with these doorways, those on the south wall of the Palace of Food Products, which look out upon the same avenue, are similar in treatment.



Palace of Education The Half Dome of Philosophy

The two magnificent Roman half-domes which give character to the otherwise long and bare wall space of the western facade are called in the Palace of Food Products "The Half Dome of Physical Vigor" and in the Palace of Education "The Half Dome of Philosophy." In dignity and nobility, due to massive size and strength of treatment, in beauty of modeling and restraint of decoration, this effective use of the half-dome is one of the finest architectural achievements on the grounds.

The fine, strong figure by Ralph Stackpole, which surmounts the giant Corinthian columns on either side of the opening is used also at the entrance of the Palace of Food Products and here, as there, it is called "Youth," the repeated figure evidently signifying in the mind of the artist the union of intellectual and physical vigor which exemplifies the finest type of manhood. The dome takes its name from the eight times repeated female figure, representing Education, which crowns the Corinthian columns lining its inner curve.



Palace of Education The Fountain in the Portal

The central decorative feature within the half-domes which form the western portals of the Palaces of Education and of Food Products is, in each case, a fountain, architectural in character and of great dignity of line and beauty of modeling; Both were designed by W. B. Faville from old Italian models found in Sienna and Ravenna. Both are circular in form and built up in successive tiers, the one at the entrance to the Palace of Education being the simplest in construction and gaining more in charm and grace from the flow of the water.

The interior treatment of the domes furnishes an effective background for the fountains. The vault of the ceiling is a richly colored conventionalized pattern in orange, pompeiian red and blue. The repeated Corinthian columns lining the curve are of Sienna marble. The doorways between them, with the Moorish grill above the doors, are in green, while back of the lattice work is set stained glass in deep amber.



Administration Avenue The Fine Arts Laguna

The Baker Street Entrance to the Exposition leads directly into Administration Avenue. The Horticultural Gardens first attract attention by their kaleidoscopic patches of blooming flowers. Then the eye travels on past the Palace of Horticulture to the massive bulwark of the Palaces of Education and Food Products in the walls of which two great half-domed portals form the principal points of interest. Across the way lies the Laguna with its reflected image of the Palace of Fine Arts, perhaps the loveliest spot in the Exposition grounds. Plants grow in the pool and the shores are lined with iris, primroses, periwinkles, pampas grass and, overtopping these, weeping willows mingled with other lovely trees and shrubs.

Towards the end of the Avenue is the small but attractive Hawaiian pavilion. The tower of the California building is silhouetted against the background of the Marin hills. Administration Avenue receives its name from the fact that it leads directly to the administrative headquarters of the Exposition, located in the California building.



Palace of Fine Arts The Rotunda and Laguna

The Palace of Fine Arts has the finest natural setting on the Exposition grounds. Consummate skill in planning the entire architectural ensemble gave it a commanding position, at the extreme west of the group of exhibit palaces. The architect, Bernard. R. Maybeck of San Francisco, found as an asset on beginning his work, a small natural lake and a fine group of Monterey cypress. With this foundation he has created a temple of supreme loveliness, thoroughly original in conception, yet classic in its elemental simplicity and in its appeal to the highest and noblest traditions of beauty and art, revealing the imagination of a poet, the fine sense of color and harmony of an artist, and the sure hand of a master-architect in his confident control of architectural forms, of decorative detail and of the contributing landscape elements. The conception of the rotunda is said to have been suggested to the architect by Becklin's painting "The Island of the Dead" and that of the peristyle by Gerome's "Chariot Race."

Across the Laguna from the Palace of Fine Arts runs Administration Avenue and the magnificent Roman wall which forms the western facade of the main group of palaces.



Palace of Fine Arts The Rotunda and Peristyle

The Palace of Fine Arts is, in reality, not one complete building, but four separate and distinct elements. The rotunda, an octagonal structure, forms the center of the composition. On either side is a detached peristyle which follows the curve of the gallery itself, as it describes an arc about the western shore of the Laguna, yet so successfully are they all bound together by the encircling green wall and by the other landscape elements, that an impression of satisfying unity results.

The architecture, as a whole, is early Roman, with traces of the finer Greek influences. In general treatment, there is a suggestion of the Temple of the Sun at Athens, while much of the detail was inspired by the Choragic monument of Lysicrates, also at Athens.

The rotunda is Roman in conception, Greek in decorative treatment. By its sheer nobility of form and of proportion, and by its enchantment of color and sculptured ornament, it dominates the entire landscape. The high spiritual quality of the architect's conception culminates in the Shrine of Inspiration, directly in front of the rotunda, as seen from across the laguna, where kneels Ralph Stackpole's lovely figure of "Art Tending the Fires of Inspiration," exquisite in its simplicity and delicate charm.



Palace of Fine Arts The Peristyle and Laguna

On either side of the central rotunda the peristyle of the Palace of Fine Arts encircles the shore of the laguna in a long semi-circle, formed of a row of Corinthian columns their pale green simulating age-stained marble. At each extremity of the colonnade and at intervals throughout its length are groups of four larger columns, in ochre, each group surmounted by a great box, designed to hold flowers and vines. Panels simulating pale green, veined marble are inset in these receptacles and at their corners are drooping women's figures by Ulric H. Ellerhusen representing Contemplation. Between the columns, at their bases, are also set receptacles for growing plants.

In its pervading dignity, in the strength of the columns, in the rich beauty of the capitals and in the chaste refinement of the cornice, the colonnade is essentially Greek.



Palace of Fine Arts In the Peristyle Walk

Between the Palace of Fine Arts itself and its bordering colonnade of massive Corinthian columns runs a broad promenade which, while binding the two together, receives a sense of freedom and serenity from the open sky above.

The wall of the gallery is interrupted only by the simple entrances at intervals. It is low and intimate in comparison with the great proportions of the other exhibit palaces and its height is further broken by a terrace midway, set with growing plants and shrubs. The whole effect desired by the architect is of an ancient ruin, overgrown through the centuries with vegetation. Along the edge of the roof runs a latticed Pompeiian pergola, hung with trailing vines, and the wall of the building is colored a deep pompeiian red.

The immense flower urns, banded with classic figures in deep relief, bearing heavy swinging garlands, are by Ulric H. Ellerhusen. Alternating with the massed green of shrubs and plants against the wall are niches holding sculptured groups. The Roman urns which crown the square pillars marking the doors and which, in varying size, are repeated here and there about the building, are by William G. Merchant.



Palace of Fine Arts The Rotunda from the Peristyle

From any point in the peristyle of the Palace of Fine Arts and under any atmospheric conditions, either by day or by night; the vistas are peculiarly satisfying and charming. About the columns of the stately colonnade are blooming plants in simple, natural groups. And at intervals between the columns under the rotunda or along either end of the laguna, the outdoor gallery of sculpture finds a sympathetic background and setting.

The great dome of the rotunda which crowns so many of the vistas, is stained a velvety burnt orange, with a turquoise blue-green border. Beneath, are eight panels in low relief by Bruno L. Zimm, symbolizing Greek culture and its desire for poetic and artistic expression, conceived in a deeply classic vein and executed with spirit and grace. Below the panels is an attic of pale-green marble.

Flanking each pier of the rotunda are two Corinthian columns in Sienna marble, within the arches are corresponding Corinthian pilasters, and within the dome against each pier is another massive Corinthian column in marble, each one crowned with the serene and noble "Priestess of Culture" by Herbert Adams of New York.



Palace of Fine Arts The Peristyle Walk by Night

Of all the wonderful night effects of the Exposition grounds none are so full of haunting beauty as the vistas afforded by the Palace of Fine Arts and its surroundings. By the indirect system of illumination, an effect as of strong moonlight is produced and from concealed sources, under cornices or behind columns, a soft reflected radiance pervades peristyle and rotunda. The trees, shrubs and columns cast long, intense shadows. Through the columns may be seen the long line of the Roman wall across the laguna, its great, half-domes suffused with a mellow, golden light and in the everchanging waters between, it gleams again.

From the other side of the laguna, the rotunda and the long crescent of the colonnade are seen reflected as in a mirror, and when flooded with the white radiance of the searchlights, their majestic beauty is indescribable.



Palace of Fine Arts A Fountain in the Laguna

Beautiful as the Palace of Fine Arts is from any viewpoint, its simplicity and noble strength are at their best when seen with a foreground of trees and water. The landscape, in its simple naturalness, is in feeling an intimate part of the building itself and so perfectly do they blend that they seem to have grown together through quiet, serene centuries.

Between the columns and along the wall of the building are blooming plants and shrubs, groups of Monterey cypress and eucalyptus trees. The shores of the laguna are banked with shrubs, loosely massed, and groups of evergreens and weeping willows bend over the lake. Outlining its irregular border, broken by small promontories and inlets, thousands of blooming plants creep down to the water's edge and venture out into its placid depths—periwinkles, primroses, daffodils, heliotrope, pampas grass, white and yellow callas, Spanish and Japanese iris and myriads of others whose names and gay, nodding blossoms are more or less familiar. Fountains play in the edge of the lake, the charming spirited group here illustrated being "Wind and Spray" by Anna Coleman Ladd.



Palace of Fine Arts A Picturesque Garden Fountain

The graceful garden fountain shown is the work of Anna Coleman Ladd. It is located toward the north end of the building near the entrance to the peristyle. Of the general effect of the Palace of Fine Arts and of its deeper meaning, the architect, Bernard R. Maybeck, says:

"There is a succession of impressions produced as one walks through the different parts of the grounds that play on the feeling and the mind, each part having its own peculiar influence on the sentiment. Along the main axis, for example, the Machinery Hall and neighborhood suggest a mixture of the classic and romantic, as you understand the terms in literature."

"The Court of Ages suggests the medieval with all its rising power of idealism in conflict with the physical. The Court of the Universe suggests Rome, inhabited by some unknown placid people. The Court of the Four Seasons suggests the grace, the beauty and the peace in the land where the souls of philosophers and poets dwell."

"The Fine Arts Palace suggests the romantic of the period after the classic Renaissance, and the keynote is one of sadness modified by the feeling that beauty has a soothing influence."



Palace of Fine Arts The Garden and Fountain of Time

In the foreground of this poetic garden scene is the foremost figure of Lorado Taft's "Fountain of Time." In sympathy with the atmospheric influence of such a vista, Bernard R. Maybeck, the architect, continues the thought of the preceding page:

"To make a Fine Arts composition that will fit this modified melancholy, we must use those forms in architecture and gardening that will affect the emotions in such a way as to produce on the individual the same modified sadness as the galleries do. Suppose you were to put a Greek temple in the middle of a small mountain lake surrounded by dark, deep rocky cliffs, with the white foam dashing over the marble temple floor, you would have a sense of mysterious fear and even terror, as of something uncanny. If the same temple, pure and beautiful in lines and color, were placed on the face of a placid lake, surrounded by high trees and lit up by a glorious full moon, you would recall the days when your mother pressed you to her bosom and your final sob was hushed by a protecting spirit hovering over you, warm and large. You have there the point of transition from sadness to content, which comes pretty near to the total impression that galleries have and that the Fine Arts Palace and Lake are supposed to have."



California Building Bell Tower and Forbidden Garden

The California Building is the result of perhaps the most interesting combination of requirements that could be imagined—to provide a host building for the home State of a great Exposition where welcome could warmly and generously be extended to the millions of visitors, where the officials could have suitable quarters and where the fifty-two counties of the State could have their exhibits. The location set aside for the concrete development of these requirements was most stimulating. An edifice to terminate the vista looking north over a laguna of silent water flanked by the wonderful Palace of Fine Arts, and just beyond, the beautiful Bay of San Francisco with a background formed by distant Tamalpais.

No style of architecture could be more appropriate to these needs than that which exists in California—an architecture romantic, peaceful, subtle and charming in its proportions. The task of adapting the Mission architecture to the requirements was given Thomas H. F. Burditt. He entered into the spirit of the old Padre builders with rare intuition, and he designed a building of impressive dignity and hospitality.



California Building The Arches of the Colonnade

The Mission Padres had built neither in magnificence nor in magnitude, and as both of these were requisite qualities in the construction of the California Building, they presented peculiar problems, and were treated with the thought of what one of the old Padres with a limited knowledge of architecture would have done if presented with the larger problem. So it seemed that the entrance foyer should be quiet, and massive and should form a nucleus to all parts of the building. The magnitude of the edifice was so great that all the existing Missions of California could be housed therein, and in order to show the largeness of its proportions and varied functions, each part was designed as a motif in itself and closely related to that part by which it stood.

From the forecourt in replica of the Forbidden Garden of Santa Barbara, surrounded by old cypress hedges, by driveways, and walled in by cloistered arches, one can find the principal entrances to all the main divisions of the building, and also to the administrative portion which contains the executive offices of the Exposition and the official reception and banquet rooms.



California Building A Vista in the Colonnade

The cloistered colonnades so intimately associated with Mission architecture have been successfully handled in the Court of the California Building. The molds for the columns of the arches were made by the architect himself, to give the semblance of age and that each should differ from the other. It was most necessary to avoid mechanical regularity in any feature of the building, and in consequence all the details vary, so that no two that are exactly similar are placed near each other. The arches are made of slightly different radii, and the bells vary both in size and design. There are ten main groups of entrances, but no two of them are in any way similar, and it was through these means that the attempt was made to obtain a varied change of interest in plan, mass, silhouette and detail and the lack of precision which must have existed at the time when the old California Missions grew into being.



California Building The Forbidden Garden

There had grown on this location for forty odd years, a hedge of cypress, weary with its age, and groups of trees forming wonderful masses of foliage to charm the eye. This happy circumstance was cleverly utilized by the architect in designing the court of the California Building. A replica of the enclosed Garden of Mission Santa Barbara was laid out within the boundary of this old hedge and planted with old-fashioned flowers such as would have delighted the Mission Fathers.

In the center is a fountain similar to that at Santa Barbara, and the quiet splash of its water adds a touch of charm and romance. The bell tower of the building throws an afternoon shadow over the garden, and within a niche in the tower stands the statue of Padre Serra overlooking this peaceful nook.



California Building The Semi-Tropical Garden

To the south of the California Building, off the Esplanade, lies an interesting garden filled with various species of cacti and unusual semi-tropical plants. Interspersed among these are masses of brightly blossoming dainty flowers—baby blue eyes in the spring and others, equally lovely, as the seasons change. In a sheltered nook rise the tall slender stalks of rare bamboo, sent from a private garden in Bakersfield.

The massive walls of the building form a rich background. Their appearance of stability, enhanced by a slight batter—that is a slight receding from the perpendicular—is shown by a least visible thickness of three feet. These features are evident in every wall throughout the exterior of the building. Within the corridors, the floors appropriately are paved with red brick, and the ceilings are beamed and roughly finished.



Netherlands Pavilion As Seen from the Laguna

The Pavilion of the Netherlands is located sufficiently near the Laguna to be reflected within the pool. The high dome is adorned with four clock towers and a forest of flagstaffs and spires. K. Kromhout, who designed the building, followed the modern ideas of the present-day school of architects in Holland. The ultra style of the Pavilion fails to recall the staunch and dignified brick structures for which the Dutch are famous, but it is a striking edifice. The tiled panels are lovely and the warm colors used in the exterior decorations most attractive.

When viewed from Administration Avenue, the numerous towers, fluttering pennants and harmonious colors are set oft to best advantage by the trees along the Laguna. About the building, the Hollander's love of flowers is strongly in evidence. Ten carloads of bulbs and shrubs were imported for the horticultural display.



Italian Pavilion The Piazzetta Venetia

The Italian Pavilion consists of a group of eight buildings, combining architectural styles of the fourteenth, fifteenth and sixteenth centuries. The main entrance to the pavilion is on the west, and a broad, low flight of steps leads into the Piazza Grande, graced by a fountain by Tacca and pieces of Italian sculpture. On the left is the medieval palace, containing authentic works of art of many ages. Facing this is the Lombard palace, of the period of fourteen-hundred, used by the Italian Commissioners as a reception hall. The Royal Salon and Casa Italiana form the east wall of the main court. The inner courts are beautified with fountains and statuary groups. Covered passageways, supported by slender pillars, extend around three sides of the piazzetta, and add a delicate charm to the enclosure. The Venetian Well in the center is a characteristic note, and the stairways leading to the upper verandas, and the niches about this court, are delightful in design. The outer elevation of the main building is of the sixteenth century. Within the Casa Italiana there is an exact reproduction of the library of the S. Maria delle Grazie, Milan.



Italian Pavilion In the Court Verrochio

The arcade which connects the Etruscan Tower with the Bargello Hall separates the smaller court of the Italian Pavilion from the Piazza Grande. The most attractive feature in this ideal court is the staircase and balcony, done in the period of the fourteenth century, with a most interesting composition of the flat walls, pierced by a graceful double arch, attractively spotted with plaques and brightened by the color of the Della Robias and the geraniums blossoming through the balustrade. A delicate touch is given by the Fountain of the Winged Boy with the Fish, by Verrocchio, which occupies the center of the stone-flagged court. To the left of the staircase is a mural fresco depicting the "Return from the Crusade."

Old iron-framed lanterns hang from the gray-toned ceilings of the arcades. The coloring of the walls and pillars is stone gray blended with shades of brown and grayish-blue. The vivid green of the sun-lit grass within the Piazzetta Venetia relieves the sober color scheme of this court. The balconies are lined with blooming flowers, and shrubs and plants in artistic receptacles add to its attractiveness.



Avenue of the Nations Tower of Sweden's Pavilion

The Avenue of the Nations extends from the Exposition group of Palaces in a diagonal direction westward to the Marina, and is lined on either side with the pavilions of the Foreign Nations. In the picture there is a glimpse of the Canadian Building to the left, and prominent in the view is the characteristic Swedish tower, typically northern, and interesting in detail.

Immediately beyond is Bolivia's Palace, to an equal degree typical of the south, followed by the pinkish-toned building erected by Cuba. Denmark's Pavilion, on the left of the Avenue adjoining the Palace of Fine Arts, is distinctly individual, marked by its towers which reproduce several historic towers in Denmark, and the moat in which frogs croak at night. The interior is arranged to represent the rooms of a gentleman's country home. On the hillside to the south are several avenues about which are grouped others of the Foreign Pavilions—the picturesque gardens of Japan, the open court of France, with its Rodin bronze, and the dignified pavilions of Australia, Norway, Greece and many other nations.



The Esplanade A View of the Foreign Pavilions

The pavilions of the Foreign Nations are on the south side of the Esplanade, westward from the group of Exposition Palaces. In the foreground of this view is seen Canada's stately building, guarded by the massive British lions. The admirable and comprehensive exhibit within has aroused great admiration and established a standard for such displays. Beyond is the pagoda of the Chinese gardens, and the tea houses, with their roofs colored in the wonderful yellow which occurs so often in the old Chinese rugs.

The slate-colored dome of Argentina's ornate Palace precedes the pinkish-toned Netherlands building seen in the distance—the rather whimsical style of the latter adding a distinct note to that section of the grounds. The park to the south is distinguished by two Oriental buildings erected respectively by Siam and Turkey. The first is an exact copy of a royal pavilion in the Garden of Maha Chakkri Palace, at Bangkok. The latter is equally typical of the East, marked with dome, minarets and spires, and includes the main pavilion and a near-by mosque and prayer tower, connected with it by a corridor.



The Esplanade A View of the State Buildings

The buildings erected by California's sister Commonwealths occupy the district west of the California Building, and the north line of the Esplanade to the Marina. Designed in various individual and dignified styles, surrounded with handsome lawns and beautiful gardens, they have formed a most important and interesting feature of the Exposition grounds. Many of the buildings reproduce historic landmarks. The golden dome of the Massachusetts State House is as dominant a feature at the head of the Esplanade as is the original on Beacon Street in Boston. The loggia of Independence Hall is familiar enough to bring a patriotic thrill to the heart of the loyal American, even were not the cherished Liberty Bell on view. Another Colonial feature is the Trenton Barracks, Washington's headquarters in New Jersey; and "Homewood" takes one back to Charles Carroll, of Carrollton, and Baltimore in 1802. The massive log building from Oregon is fairly representative of that state of virgin forests, notwithstanding the mistaken attempt to reproduce the classic Parthenon in such a crude medium. In this view the magnificent building for New York is in the foreground. Beyond, in the order named, are the buildings for Pennsylvania, New York City, Illinois, Ohio, Utah and Massachusetts.



The Zone A Holiday Gathering

The Zone, while providing excellent entertainment and relaxation, is above the standard established by the amusement sections of former expositions, many of its concessions being of an educational nature. This is notably true of the Panama Canal, which appears on the left of this picture. Because of its value as a faithful reproduction of the great work which the Exposition commemorates, many consider it as deserving a place in the main grounds. Almost equal to this in educational interest and quite ranking it in beauty are the reproductions of the Grand Canyon with its Hopi and Navajo Indians, and Yellowstone Park. Old Faithful Inn in the latter is a favorite place for social gatherings.

For pure fun and gaiety, Toyland Grown Up, that whimsical conceit especially built for youngsters, old and young, has provided merriment for thousands. Of thrillers that raise the hair and make the heart beat high and without which no amusement section would be complete, the Zone announces its full quota with much rattling of machinery and many shrieks of joy.

And the presence of strange peoples, one of the recognized features of these places, is also noticeable along the Zone. A Maori tribe from New Zealand, Samoans, Hawaiians, Aztecs from Old Tehauntepec, and others bring their customs and costumes from unfamiliar lands.



The Zone The Bizarre Decorations

There is something naive about the Zone. It presents its colossal grotesques—its gargantuan Uncle Sam, its monstrous elephants—rather with an air of acknowledging that it cannot compete with the beauty one leaves behind when one turns in under its gay flags ad lanterns. Here is frankly the spirit of abandon. To the right and left the bawling barkers shout their enticements, begging one's patronage. Up and down the street the endless patter of the feet of men and women, the wheeze of the little electrics and the blare of brassy music ebb and flow. Here and there is the dominant note of the Exposition, its pastel shades of burnt orange and red, and its indefinable blue. They flutter forth, hooped about the flagpoles with Oriental effect. Those wonderful lanterns, that delightful medieval touch which one finds through the grounds, are here employed with great effect.

When one is tired of gigantic horses with ever-impending hoofs, tired of large plaster ladies whose complete poise does not entirely atone for a rather excess of buxomness, one can always turn to these reminders of the beauty that is the essential characteristic of the Exposition itself.



The Fireworks Star Shells and Steam Battery

Notwithstanding the excellence attained by the Exposition in the beauty of its coloring, the poetry in its courts and architecture, the mystery and glamour of its illuminations, the spectacular element could not be overlooked. This finds expression in the fireworks that are let loose on the Marina several evenings each week. Here, however, a distinct advance has been made upon the familiar pyrotechnic display of former events. The use of powerful scintillators with their colored rays playing upon smoke clouds and flying devices from exploded bombs high in the air, or upon weird shapes of steam sent out by the engine on the border of the yacht harbor, lends infinite variety and beauty. In several of the numbers the scintillators secure the effects unaided, their lights making strange figures in the heavens. "Spooks' Parade," "Aurora Borealis," "Devil's Fan," are some of the ideas suggested.



Zone Salvo The Final "Big Noise"

The Exposition Fireworks are under the direction of William D'A. Ryan, Chief of Illumination. On each occasion a set program is followed consisting of twenty-four numbers. At the opening, a salute of ten detonating bombs and a large rocket announce the event. This is followed by features of the scintillator lights, combinations of these with steam, with smoke bombs and with orange showers and Japanese daylight shells, and by fancy star shells, festoon rockets and candle fountains. The climax is reached in the Zone Salvo when a tremendous explosion of hundreds of detonating devices occurs, with rockets and star shells exploding in the air, the rays of the scintillator coloring the smoke clouds in brilliant hues; and amidst it all, high above, suddenly appears a beautiful American flag caught and followed by the ray of a powerful white searchlight as it floats away from sight.



Here ends The Architecture and Landscape Gardening of the Exposition, with an introduction by Louis Christian Mullgardt. The descriptive titles have been written by Maud Wotring Raymond and John Hamlin. Edited by Paul Elder. Published by Paul Elder and Company and seen through their Tomoye Press under the typographical direction of H. A. Funke in the city of San Francisco during the month of September, Nineteen Hundred and Fifteen.

THE END