The New York City Building, Bertram G. Goodhue, of New York, architect, is the only municipal building at the Exposition. It is a simple classic structure, housing an extensive display intended to demonstrate and promote municipal efficiency. Its exhibits, maps, models, photographs and charts,—admirably illustrate all sides of city government.

The Massachusetts Building, planned by Wells and Dana, of Boston, is a fac-simile reproduction of the Bulfinch front of the Massachusetts State House on a scale of two-thirds. (p. 181.) Within, as well as without, it is of commanding interest to every American. Its rooms are furnished with veritable colonial furniture. The club room to the right of the entrance hall is done in Jacobean style, the reception room opposite shows fine copies of Chippendale, Sheraton, Hepplewhite and Adams originals, and is hung with a long series of historic portraits, lent by Massachusetts families and the State Historical Society. On the second floor is a room filled with genuine old furniture by the most famous makers, fine colonial mirrors, and a Willard clock. The Governor's suite and the Commissioners' rooms are furnished with exquisite copies of colonial models.

The Pennsylvania Building, Henry Hornbostel, of Pittsburgh, architect. This interesting structure is reminiscent of Independence Hall, Philadelphia, though it is not a reproduction of the Cradle of Liberty. (p. 181.) Its plan was dictated by the necessity of a fireproof structure in which to house the Liberty Bell at the Exposition. Consequently, it is the solidest and most enduring of the state buildings. Besides the Bell, which is placed in the loggia, its most striking feature is the two fine mural paintings under the attic, from the brush of Edward Trumbull, of Pittsburgh, one representing Penn's Treaty with the Indians, and the other Pittsburgh Industries.

The New Jersey Building, Hugh Roberts, of Jersey City, architect, like those of Pennsylvania and Virginia, tells of the days of the Revolution. It is a copy of the old Trenton barracks, erected in 1758, and used alternately by British and Colonial troops during the Revolution. Within, its simple and comfortable appointments make it one of the most popular of the state buildings. A large lounge with blazing fireplaces, and furnished in white reed, occupies the entire central section. In the east wing are the offices and rooms of the Commission. The west wing contains the lobby and a reception room in which hang two large marines painted by N. Hagerup, of San Francisco. As the building is to be President Wilson's headquarters if he comes to the Exposition, a splendid suite, corresponding with the rooms occupied by General Washington, has been furnished and reserved for him.

The Maryland Building, designed by Thomas, Parker and Rice, of Baltimore, presents a fascinating study of colonial architecture in its reproduction of "Homewood," built by Charles Carroll of Carrollton in 1802. The present aspect of "Homewood" has been imitated in appearance of age given to the brickwork and the timbering. The contents of the building are no less delightful, historically, than the structure itself. The Colonial Dames of America have enriched the walls with original portraits of colonial celebrities, old prints, original grants by the Baltimores, and many historical documents and relics. Colonial furniture adorns the rooms. Few of the state buildings will so well repay a visit.

The Virginia Building, Charles K. Bryant, of Richmond, architect, is as significant historically as any on the grounds. It is a complete reproduction of George Washington's home at Mount Vernon, down to the spinning room, the detached kitchen and the servants' quarters, and furnished in part with Washington's own furniture loaned by Miss Nannie Randolph Heth, of Virginia, the official hostess of the building. There is Washington's chair, Mrs. Washington's work box, Nellie Custis' music stand, and many other relics of the Father of his Country. The remaining furniture, also loaned by Miss Heth, consists of antique specimens brought over from England in colonial days.

The West Virginia Building, designed by H. Rus Warne, of Charleston, W. Va., while not copying any individual structure, suggests well-known colonial types. Its veranda, in particular, is like that of the home of the Lees at Arlington. The chief room is the long reception hall, where logs always burn in a huge fireplace, typifying the warmth of West Virginian hospitality.

The Mississippi Building, Overstreet and Spencer, of Jackson, architects, was designed to suggest the old-style Southern mansions. Some of its motives, especially the pillared portico, were taken from the old capitol building at Jackson. The displays contained in it are chiefly agricultural. Mississippi is also represented in the Exposition palaces.

The Ohio Building, designed by Albert Pretzinger, of Dayton, is a copy, on a smaller scale, of the classic State House at Columbus. Containing no exhibits except the relics shown by the State Historical Society, the building serves the social side of Ohio's participation in the Exposition. Its upper floor is entirely occupied by suites for the Governor and the Commissioners.

The Indiana Building, designed by J. F. Johnson, of Indianapolis, represents a type of modern Hoosier dwellings. It is of permanent construction, of sandstone and brick with a tiled roof, and unique in the fact that all of the materials used and all the furnishings are Indiana products. State pride appears again in the library of 15,000 volumes, confined entirely to the works of Indiana authors and books about Indiana. In addition to the building, which is wholly an exhibit, Indiana is well represented in the Exposition palaces.

The Illinois Building, designed by State Architect James Di Belka, of Chicago, is perhaps the best exhibit of the State at the Exposition. (p. 180.) It is a dignified three-story structure of the Italian Renaissance. The Sculptured tablets of the facades represent the history and progress of Illinois. The exhibits within are of unusual interest. The Lincoln Memorial Room, made possible by Mrs. Jessie Palmer Weber, contains a great collection of photographs, letters and relics of Lincoln, and many articles connected with his life. The valuable series of films prepared by the Chicago City Planning Commission is shown in the moving-picture hall. This building contains a fine pipe organ on which frequent recitals are given.

The Wisconsin Building, designed by R. A. Messmer & Co., Milwaukee, in the colonial style with wide porticoes, contains one of the State's best exhibits in its interior finish of fine Wisconsin hardwoods. The floors are all of maple and the paneled wall of birch. "Old Abe," the famous Wisconsin war eagle, stands above the main entrance. Over the fireplace in the reception room is a panel in relief, "The Progress of Wisconsin." The building is used a headquarters for Wisconsin visitors.

The Iowa Building, Clinton P. Shockley, of Waterloo, IA., architect, is a classic structure, finished, like most of the state buildings, in the Exposition travertine. It does credit to the public spirit of Iowa business men, who, in default of a legislative appropriation, supplied the funds.

The Missouri Building, designed by H. H. Hohenchild, of St. Louis, is a structure of real distinction in the Georgian style. (p. 180.) It copies no Missouri building, and is historical only in its pleasant combination of architectural features much used in early days. The building is of permanent construction and after the Exposition closes is to be turned over to the Government as a club house for the army,—this as a compliment to Major-General Arthur Murray, who, like so many other eminent Americans, hails from Pike County. The Missouri Home, as it is called, is used as a gathering place for visiting Missourians, and for the strong Missouri Society of California.

The Kansas Building, Charles Chandler, of Topeka, architect, is a pavilion in the style of the Italian Renaissance. It is a club house, devoted solely to the comfort and entertainment of visitors. Strong exhibits are made by the state in the palaces of Agriculture, Horticulture, Food Products, Education, and in the Live-Stock Section.

The Arkansas-Oklahoma Building, designed by George R. Mann, of Little Rock, was built and furnished by private subscriptions by citizens of the two states. It is a roomy bungalow designed for the convenience of visitors from Arkansas and Oklahoma, and exhibits some of their products.

The Texas Building, Page and Brothers, Austin, architects, is a pleasing example of Mexican architecture as distinguished from the California Mission style. It suggests the Alamo, and bears the Lone Star pierced through its raised cornice. Within is a patio, reached by broad entrances from the verandas at front and rear. A motion-picture hall, a ballroom, offices and rest rooms occupy the greater part of the building. The state exhibits are in the Exposition palaces.

The North Dakota Building, Joseph B. De Remer, formerly of Grand Forks, now of Los Angeles, architect, owes its unique ground-plan to a three-cornered lot. That it is a pleasing structure is witnessed by several dwelling houses now being built in California after its plans. The building is French in style, treated in a simple manner. It contains interesting exhibits of the products of the Northern State, including a noteworthy display of pottery made at the University of North Dakota, an institution which devotes much of its effort to promoting state industries.

The Montana Building, Carl Nuese, San Francisco, architect, is one of the group of classic structures finished in plastic travertine. The only display made in the building, which serves as a social center for visitors from Montana, is a school exhibit. The State is, however, largely represented in the Palaces of Mines, Agriculture and Horticulture.

The Idaho Building, Wayland and Fennell, of Boise, architects, was the first state structure completed at the Exposition. It is built in the manner of the Italian Renaissance and looks out over the bay. Like most buildings of the Western states, it is equipped with a moving-picture theatre, as well as rooms for visitors. Idaho's exhibits are chiefly in the Exposition palaces.

The Nevada Building, designed by F. J. De Longchamps, of Carson, is another structure in the style of the French Renaissance. It is the headquarters of the Nevada Society of California and of visitors from the Sagebrush State. Nevada has important exhibits in several palaces.

The Utah Building, Cannon and Fetzer, of Salt Lake, architects, is a classic structure with deep porticoed front. All its furniture is an exhibit, made by the pupils of the manual training department of the Utah schools. The building contains interesting models of copper and gold mines, and an exhibit of the processes of salt-making, displays of building-stone, grains and grasses, and collections from the cliff dwellings. Other exhibits are in the Palaces of Mines, Education and Horticulture.

The Hawaiian Building, C. W. Dickey, of Oakland, architect, excellently represents the Pacific isles. In style it is French Renaissance, built with a half rotunda at the rear to accommodate a semi-circular aquarium. In the center of the main hall is a clump of palms and tree ferns, and native singers give the island touch. The aquarium contains a wonderful collection of the many-hued fish of the South Seas. Interesting displays of native cabinet woods are made in the finish of the offices. Though small, the Hawaiian building has proved one of the most popular.

The Philippines Pavilion, designed by the Bureau of Architecture, is one of the Exposition places which no one should miss. It marks the creation of an original style of exposition building. It is Filipino in all its motives. Its groups of four columns suggest the four essential posts of native hut construction; the broad roofs are tiled; the windows are not glass, but of thin shell, the common material used in the islands; the walls are finished in split bamboo matting. The same style of construction is used also in all the Philippine booths in the palaces. The materials are used with restrained taste, and this, with the magnificent cabinet woods employed throughout the construction, has resulted in a beautiful building. It is a little hard to realize the richness of the woods used here. The very floors in the pavilion and the booths are good enough to make piano cases of. The central portion, upstairs and down, is floored, wainscoted and ceiled with the costliest of timber. The two offices to right and left of the main entrance are finished in a beautiful, hard, heavy rosewood, called narra, the one to the right in yellow narra, that on the left in red narra. The stairway is of a magnificent, richly figured, claret-red hardwood called tindalo, the favorite material for such construction in the islands. The panels of its wainscoting and the balusters are of a dark velvety epil, so dark and so glossy in some places that it looks almost like agate. All the columns are natural trunks of the palma brava.



XVIII.

The Live-Stock Exhibit



The first Exposition to offer a live-stock exhibit covering its entire period—Prizes total $440,000—Classification of competitions—New methods of displaying herds and flocks—Contests in dairy and beef cattle—Other exhibits range from high-bred horses, hens and sheep down to pet rabbits, rats and mice.



For the first time in the history of similar celebrations, this Exposition offers a continuous live-stock show. Other expositions have confined their live-stock exhibit to a few weeks during the time of award-making. Here, however, the show extends from the opening of the Exposition until its closing. The competitive period extends from September 23 to December 3. Naturally this will mark the high tide of the display. During this time the International Jury on Awards will distribute in cash prizes a total of $440,557. Of this amount, $190,000 has been given by the Exposition management, $100,327 by the breed record associations of the country, and $150,230 by various states to be used in prizes and the transportation of stock.

These attractive prizes will be distributed, among the well-established and well-known breeds of draft and light horses, ponies, beef and dairy cattle, sheep, swine, poultry, pigeons, and pet animals. All animals will be judged according to the rules of recognized breed associations. Foreign or other animals not recorded in the books of the associations named in the premium list will be judged by the standards of the associations to which their exhibitors belong.

The educational value of the live-stock show for the general public, as well as the stock breeder, has been emphasized in every department. The increased cost of living being a dominating topic for both producer and consumer, much attention has been centered on meat-producing animals. Liberal provision has been made in the prize list for fat classes in beef-cattle, sheep and swine.

When the Exposition management designed the live-stock section and planned the buildings for the various features of this department, an effort was made to create a model arrangement for exhibit purposes. So successful was this effort that a number of states have requested the plans for a ground layout. This portion of the Exposition cost the management approximately $150,000, and covers sixty-five acres. The buildings represent, in their equipment, the very latest development in the housing and caring for stock. The visitor first approaches from the east a quadrangle of eight large stables, enclosing the forum where the live-stock shows are held. These stables have a total accommodation of 1124 horses. The forum has a seating capacity of 2680 persons.

To the north of the stable quadrangle is Congress Hall, for the accommodation of conventions and other meetings, and containing also the administration offices of the chief of the live-stock department. On this side also are the corrals, feed storage barns, a service yard, and an area for open-air exhibits. To the south is the large dairy building, a dairy manufactures building, and the poultry exhibit building. The dairy building houses more than 300 animals. West of the stable group is the mile racecourse with its polo and athletic field.

One of the novel features of this show is the manner in which the view herds and flocks are displayed. These are seen in stalls and pens built at an angle of about forty-five degrees to permit the visitor to get a side view of the stock. The view-herd idea in itself is something new. These exhibits are purely educational in purpose, and non-competitive. They have been on display since the opening, and will continue until the close of the Exposition, thus enabling the visitor to see a creditable live-stock show, no matter at what season he may come. The view herds are selected by competent authorities, and represent the best of their respective breeds. Among such herds on exhibit are Shorthorn cattle, Berkshire swine and Percheron horses. These exhibits are changed from time to time.

In addition to these general features, the special events include the milk show, harness races, universal polo, wool grading, sheepdog trials, poultry show, and an international egg-laying contest.

For eleven classes of dairy cattle the Exposition offers awards, as follows: Jersey, Ayrshire, Guernsey, Holstein-Friesian, Dutch-Belted, Dairy Shorthorn, Brown Swiss, French-Canadian, Simmenthal, Kerry and Dexter, and Grade-Dairy Herd. This last is a recognition on the part of the Exposition of the great utility value of the grade-dairy cow, which forms the basis of the dairy industry, and yet could not exist without the pure-bred stock. In the beef-cattle group, the Exposition offers awards in the following classes: Short-Horn, Hereford, Aberdeen-Angus, Galloway, Polled Durham, Red Polled, Devon, Fat Cattle (by ages) and Car-lots.

One of the especially attractive features pertaining to the dairy section is the exhibit of 150 high-grade Holsteins for utility purposes. This herd is in full flow of milk and is maintained by a large milk condensing plant. This exhibit, in the daily care given these perfect specimens of dairy cattle, the yield of Milk, the quality of feed and the appliances used, forms one of the most attractive units in the department. An important event in this section was the pure milk and cream contest, June 14 to 19, in Congress Hall. City and state boards of health and the dairy divisions of agricultural colleges participated in the contest. The purpose of the event was designed to create a greater interest in pure milk and cream. Four samples of milk and cream each were submitted. One of these was submitted to an official bacteriologist, a second given to the official chemist, a third displayed in Congress Hall, and the fourth tested for its butter-fat content. Awards of gold and silver medals and cash prizes were made in the following classes: city boards of health, cream dealers, milk dealers, college experiment stations, pasteurized milk, pasteurized cream, market milk producers, certified and medical milk commissions.

In the horse exhibit the following classes are provided: Percheron, Belgian, Clydesdale, Shire, Suffolk-Punch, Standard Trotter, Thoroughbred, Saddle Horses, Morgan, Hackney, Arabian, Shetland Pony, Welch Pony, Roadsters, Carriage Horses, Ponies in Harness, Draft Horses, Hunters, Jumpers, and Gaited Saddle Horses. Among special events in this section are the following: trot under saddle, one-mile track, one-mile military officer's race, one-mile mounted police race, gaited saddle race of one mile, steeple chase, hurdle race, polo pony dash, relay race of one mile, cowboy's relay race of same length, cowgirl's relay race, six furlongs, saddle tandem. Exposition jumping contest and five-mile Marathon four-in-hand. On the closing day of the Exposition there will be a grand parade of all first and second winners, not only in the horse display, but in all other displays in this department.

The following dates have been set for the exhibition of stallions and mares in the breeding classes in the Forum: Thursday, September 30,— Percheron, standard trotter, Welch pony, and Morgan; Friday, October 1,— Belgian, Thoroughbred, Hackney, and Shetland Pony; Saturday, October 2,—Clydesdale, Saddler, Arabian, and Suffolk-Punch; Monday, October 4,— Shire, Jacks and Jennets, and Mules.

The exhibition of horses for awards is from Thursday, September 30, to Wednesday, October 13. One of the important events of this period is the special horse show. Two other big special events are the races and international polo tournament. The polo tournament from March 7th to May 1st enlisted the following teams: Cooperstown, N. Y.; Philadelphia Country Club; Midwick Polo Club; Pasadena, Burlingame and San Mateo Clubs; Boise, Idaho, team; Portland, Oregon, team; First Cavalry, Monterey; Second Division Army, Texas City, Texas; and Southern Department Army, San Antonio, Texas.

The Exposition harness races cover two periods, one from June 5 to June 15, and the other from October 30 to November 13. In addition to these there will be matinee races from May 23 to September 30. A total of $227,000 has been set aside for purses in these races.

The poultry exhibit for award is scheduled from November 18 to 28. This is known as the Universal Poultry Show, and is planned to be one of the largest ever held. Between 10,000 and 12,000 chickens, entered from all parts of the Union, will be in competition. In conjunction, the American Poultry Association meets in Congress Hall in the live-stock section. The International Egg-Laying Contest, extending over a period of one year from November 15, 1914, has attracted widespread attention. Pens of fowls have been entered in this contest from the United States and Canada, and even distant England. Daily records are kept of the production of each hen, and, once a month, the score is bulletined by the live-stock department for the information of owners.

Sheep and goats are to be judged for awards from Wednesday, November 3, to Monday, November 15. The breeds classified are: Shropshire, Hampshire, Cotswold, Oxford, Dorset, Southdown, Lincoln, Cheviot, Leicester, Romney, Tunis, Rambouillet, Merino-Ameiran, Merino-Delaine, Corriedale, Exmoor, Persian Fat-Tailed, Karakule, and car-lots; goats, Toggenburg, Saanen, Guggisberger, and Anglo-Nubian breeds, with the grades of each breed, and native goats.

The exhibit of swine for awards runs between the same dates. The eligible breeds, besides swine in car-lots, are Poland-China, Berkshire, Duroc-Jersey, Chester White, Hampshire, Tamworth, Mule Foot, Large Yorkshire, Large English Black, Victoria, Essex, and Cheshire.

The scope of the live-stock department is not limited to the material things of rural life. A Universal kennel show is scheduled from November 29 to December 1. Two classes of dogs are provided for in the awards, sporting and non-sporting. A cat show, of long and short-haired cats, is set for the same period as the kennel show. Other groups of exhibits in this line are pet stock, rabbits, hares, rats and mice, and children's pets.



XIX.

Sports and Games; Automobile Races; Aviation



Exposition contests include nearly every branch of sport—National Championships of the A. A. U.—Two great automobile races, the International Grand Prix and the Vanderbilt Cup, already run—Polo and Golf—Sensational flights of the aviators—The International Yachting Regatta and other aquatic events—All-star baseball expected in the fall.



An account of the Exposition, and indeed, American athletic history for the year 1915, would be incomplete without a description of the sports programme. This outline of games and exhibitions includes nearly every branch of sport familiar to the American public, and its wide appeal has attracted many thousands to the athletic fields and gymnasiums of the Exposition. Although ten months of sport was originally intended by the athletic committee, this period has been somewhat abbreviated by circumstances, though a practically continuous performance has held sway since February 22.

International competition, at first intended in many branches of the programme, was generally abandoned on account of the European conflict; but the want of foreign representation has in no way lessened the quality of competition, or dampened the attractiveness of the summer contests. Some of Europe's star track men are entered here, in spite of conditions on the continent.

Perhaps the most popular attractions of the programme are the national championships, held every year under the auspices of the Amateur Athletic Union. At the convention of that body during November, 1913, prior to the death of its president, James E. Sullivan, it was voted unanimously to award all of the organization's events, with the exception of boxing, to the Panama-Pacific Exposition. These championships are the blue-ribbon events of the amateur world. They include track and field games, swimming, boxing, wrestling and indoor gymnastics. Three of these championships were staged in San Francisco before the opening of June.

In basket ball, the first of the national competitions, premier honors went to a California organization, the San Francisco Olympic Club. Next in line came gymnastics, followed by wrestling. Although these sports are not immensely popular with the athletic enthusiasts, generous galleries turned out to see the American champions in action.

The more important part of the Amateur Athletic Union programme was scheduled for the summer months, when the track and field championships are held. Facilities for staging these games are ideal. The cinder path, situated at the far end of the Exposition grounds, with unexcelled scenic advantages, is reputed to be the equal of any athletic stadium in the country. The oval measures one-third of a mile to the lap, with a 220-yard straightaway flanking the grandstand. The earlier games convinced Eastern athletes that there could be no complaint against facilities.

The senior and junior track and field championships of the Amateur Athletic Union loom up as the banner track events of the programme. National stars have signified their intention of participating in these games, and it will be surprising if many national records are not broken. In addition to these games, the International Olympic Committee, which controls all the modern Olympic meets, conferred upon the Exposition the right to hold the Modern Pentathlon, this being the first time it has been contested outside of the Olympic Games. In addition, America is to have for the first time the Decathlon, and the famous Marathon race originated in Greece centuries ago, and impressively revived during recent years by the more important athletic bodies of the world.

Besides the Amateur Athletic Union track and field games, an abundance of competitions, ranging from grammar school contests to collegiate struggles, was arranged. Among the first of these, the Pacific Coast Intercollegiate Conference, was won by the University of California from a field of collegiate teams representing the entire Pacific Coast. Several high and grammar school contests have attracted spectators to the stadium. One thousand grammar school athletes entered the lists upon the Exposition cinder path, and staged a carnival that stands as a record in California, and approaches any American event of its kind both in the number of entrants and the class of competition offered.

Automobile racing, of the kind that thrills, was furnished by the Exposition during its early weeks. Two events of international importance were run upon the Exposition grounds, and in each instance attracted one hundred thousand spectators to the course. The first of these was the International Grand Prix, run in the rain and under other conditions far from ideal, over a four-mile course for the distance of four hundred miles. Sensation followed sensation in this feature, a final winner being supplied in the swarthy Darius Resta, who drove a Peugeot car for an average speed of fifty-six miles, 7:07:57 being his actual time. Other drivers of international reputation appeared in this struggle, among them De Palma, Hughes and Wilcox. Handsome prizes were distributed to the winners in these events.

The Vanderbilt Cup Race was staged over the same course on March 7, and brought out an equally attractive field. Running with the precision and dexterity that brought him home a winner in the Grand Prix, Resta repeated his victory in the Vanderbilt Race, coming home from his journey of three hundred miles ahead of such stars as Burman, Pullen, Wilcox and De Palma. Resta earned the reputation of being one of the most skillful drivers holding the wheel in this or any other country.

For six weeks, from March to May, polo held popular sway at the Exposition. Ten teams competed in a tournament which offered many valuable trophies. The contests were held daily and attracted thousands to a specially prepared turf field near the athletic stadium. The sport furnished thrilling competition throughout its period.

Perhaps the most famous team seen in competition was the noted four from Cooperstown, New York, bearing an international reputation. The Easterners, although weakened by illness in the ranks of their players, proved practically invincible. Another notable organization was the four representing the Midwick Club of Pasadena, California. In addition to the civilian teams, the United States army was represented by some fast fours, who provided thrill after thrill with their reckless but winning form in the saddle. Perhaps the most notable of the military combinations was the Fort Sam Houston four, which went through the tournament with practically an undefeated record. The army teams were granted certain handicaps, however, which gave them a slight edge in some of the contests.

Aviation, a branch of sport which claims a large place in the popular fancy, was not neglected by those who drew up the programme. Two world-famed aviators have performed before hundreds of thousands, though one of these, Lincoln Beachey, became a victim to the elements which he had so often defied. While giving an exhibition flight in a German Taube, Beachey fell to his death on March 14 when his monoplane crumpled at the start of a daring loop.

Nothing daunted by the untimely end of Beachey, a new luminary appeared in Arthur Smith, whose aerial maneuvers exceed in point of recklessness anything attempted by his predecessor. Smith thrills thousands in daily flights and skiey acrobatics, including crazy dips and loops, startling dashes to the earth and illuminated flights through the night air. (See p. 192.) Smith became in a day an attraction outshining, perhaps, any other single performer upon the huge Exposition programme.

Those who loved horse racing and grieved at the decline of the sport in California, were rejoiced at the announcement of some of the biggest harness and running events yet staged in this country. Two meetings were arranged for the Exposition schedule, a summer harness event, June 5th to 19th, and a fall running meeting, October 30th to November 13th. The Panama-Pacific is the first Exposition to make horse racing an outstanding feature of its activities. About $227,000 was set aside to be distributed in handsome purses and stakes for the events. A $20,000 trotting and a $20,000 pacing stake was put up for each meeting, with other sums ranging from $1,000 to $5,000. The four stakes of $20,000 each are the largest ever offered in any light-harness event, and insured entries of the highest class.

The race track is situated near the athletic stadium, and commands an unsurpassed view of the San Francisco Bay, together with the Marin County heights and the entrance to the Golden Gate. The grandstand seats thirty-five thousand spectators. The course, under scientific preparation for several months, was put in fine shape. The length of the lap is one mile.

One of the biggest golf events ever staged in this country was successfully managed by the Exposition. Five weeks of sport on the links around the bay counties, including high-class exhibitions by both men and women, were in the plans of the committee. Events included both professional and amateur contests, and seldom, if ever before, had a community of the size of San Francisco maintained so continuous an interest in the sport. Valuable prizes and trophies were offered for the different events of the programme. Handsome cups and medals were granted amateurs, while professionals were tendered purses of generous proportions.

Perhaps the banner event of the tournament was the amateur championship for men played on the course of the Ingleside Golf and Country Club. Players of international reputation were entered in this event, and as a result, the play offered sensation after sensation. The tournament was won by Harry Davis, of the Presidio Golf Club, after a struggle in which he eliminated such stars as Chick Evans, H. Chandler Egan, Heinrich Schmidt, and Jack Neville. Davis met Schmidt in the finals of the event and won only after a dazzling exhibition of driving and putting such as has seldom been seen on a California course.

In addition to the men's championships, the women were in the limelight for a week. Miss Edith Chesebrough won the finals of the first flight play over Mrs. H. T. Baker. Mixed foursomes, events for professionals, driving, putting, and approaching contests were all included upon the programme, with gratifying results.

Yachting was granted an appropriate position upon the calendar, the races scheduled including yachts, sloops and motor boats upon San Francisco Bay and the ocean waters in the neighborhood of the Farallones. Perhaps the biggest event upon the programme is to be the International Regatta scheduled for August 1st to 31st, an event intended to bring into competition practically every type of racing craft afloat. This has brought attractive entries from both Eastern and Pacific clubs.

Special events were also arranged. A schooner race, with a course starting from a point on the bay off the Exposition and extending to the Farallone Islands, is one of them. Perhaps the most attractive of these events, however, will be the long-distance race for yachts from New York to San Francisco. The boats are to sail along the Atlantic seaboard, reaching San Francisco via the Panama Canal. Several entries for this contest have already been filed, and it is expected that by the time set for the start, a first class field will be ready to weigh anchor. Handsome cups, furnished by the Exposition for winners in the different nautical events, include many valuable trophies.

Boxing, the professional phase of which was recently abolished by an act of the California legislature, found an important place upon the Exposition programme. Amateur events staged at the Civic Auditorium excited great interest. By a special arrangement with the Amateur Athletic Union, the Exposition management obtained the national winners of Boston for the San Francisco tournament. Accordingly, the best of the country's amateur glove crop exhibited their wares to big galleries. In the matter of championships, California and the Pacific Northwest obtained the chief honors, several of the Eastern ring stars falling by the wayside in their work.

Not to be found wanting in the completeness of their scheme, the Exposition directors are still busy with plans which promise many events of unusual attractiveness for the Fall. It is hinted that the winner of the world's baseball series, waged between the National and American leagues, will be brought to the Coast for an exhibition series in October, to play against an all star team. Other phases of sport during the Exposition period include rowing, lawn tennis, handball and certain types of football, though disagreements between the two largest universities of the Coast have made the autumn sport an uncertain quantity.



XX.

The Joy Zone



A mile of amusement places, many of which are really educational—The Panama Canal, Grand Canyon, Yellowstone Park and the native villages— "The 101 Ranch"—"Toyland Grown Up"—Other notable features.



The Joy Zone, nearly a mile in length, is a broad avenue bordered with closely packed places of amusement. There are more than one hundred concessionaires, with two hundred and twenty buildings devoted to refreshment or pleasure, including a few in other places on the grounds. Here are all sorts of divertissements, from roller coasters to really great educational sights like the Panama Canal or the Grand Canyon.

By common consent the Panama Canal is the most noteworthy feature of the Zone. Indeed, it ought not to be on the Zone. It should have had a place in the Exposition proper, as one of its finest exhibits. The show is a working reproduction of the Panama Canal, on so large a scale that it covers five acres. The landscape of the Canal Zone is faithfully reproduced, with real water in the two oceans, the Gatun Lake, the Chagres River and the Canal. The visitor sees it from cars which travel slowly around the scene, and which are fitted with telephonic connections with a phonograph that explains the features of the Canal Zone as the appropriate points are passed. Next to seeing the Canal itself, a sight of this miniature is the most interesting and instructive view possible of the great engineering feat. In one way it is even better than a trip through the Canal. It gives the broad general view impossible from any point on the Isthmus itself.

In much the same class are the reproductions of the Grand Canyon and the Yelllowstone Park. The Grand Canyon has an added interest in the presence of Navajo and Hopi families living in reproductions of their desert homes. Representing other native races, there are the Samoan Village, the Maori Village, and the Tehuantepec Village. All these people are genuine and live in primitive style on the Zone, though, to tell the truth, they are quite likely to use college slang and know which fork to use first. Not on the Zone, but proper to be mentioned here, are the Blackfoot Indians brought to the Exposition from Glacier Park by the Great Northern Railroad. Eagle Calf is a real chief of the old days, and his band is a picturesque group.

There is Toyland Grown Up, a product of the astonishing genius of Frederic Thompson, creator of Luna Park, covering nearly twelve acres and packed with Thompson's whimsical conceptions of the figures of the Mother Goose Tales, Kate Greenway's children, and soldiers and giants, and the familiar toys of the Noah's Ark style-all on a gigantic scale. Japan Beautiful, a concession backed by the Japanese Government, has many interesting features, including the enormous gilded figure of Buddha over the entrance and a reproduction of Fujiyama in the background. Then there is an Antarctic show entitled "London to the South Pole;" the Streets of Cairo; the Submarines, with real water and marine animals; Creation, a vast dramatic scene from Genesis; the Battle of Gettysburg; the Evolution of the Dreadnaught; and many other spectacles and entertainments of many classes, but all measuring up to a certain standard of excellence insisted upon by the Exposition. The Aeroscope, a huge steel arm that lifts a double decked cabin more than two hundred and fifty feet above the ground and then swings it around in a great circle over the Zone, is one of the thrillers.

The Joy Zone has suffered from the excellence of the Exposition to which it is the side-show. The Exposition itself is so wonderful a sight and contains so vast a number of remarkable and interesting things that multitudes have been content to stay with it, too much engrossed to find time for any but a few of the best things on the Zone. No better evidence could be found of the beauty, interest and value of this Exposition.



Appendix



(A) Sculptures and Mural Paintings

The following lists give the titles, locations and names of artists of the Exposition Sculptures and Mural Paintings. They do not include work exhibited in the Palace of Fine Arts, or in the state or foreign buildings, but only those which were designed for the adornment of the Exposition palaces, courts, and gardens.

The lists also index all matter and illustrations describing or showing this "Exposition art." Figures in light-face type refer to pages in the text; those in black-face type, to illustrations.



I. Sculptures.

South Gardens.—Two Mermaid Fountains, by Arthur Putnam (21, 84, 99); Fountain of Energy, by A. Stirling Calder (83, 47).

Palace of Horticulture—Figures at bases of spires, by Eugene Louis Boutier; Pairs of Caryatids, by John Bateman (21).

Festival Hall.—The Torch Bearer (on domes), Bacchus, The Listening Woman, Flora and Pan, Flora and Dreaming Girl, Figures on cartouche over entrance, all by Sherry E. Fry (26, 26, 32).

Tower of Jewels.—Cortez (east side of arch), by Charles Niehaus (46, 48); Pizarro (west side of arch), by Charles C. Rumsey; Priest, Soldier, Philosopher and Adventurer, by John Flanagan (46, 44); Armored Horseman (on terrace of tower), by F. M. L. Tonetti (46); Fountain of Youth, by Edith Woodman Burroughs (49, 84, 89, 53); Fountain of El Dorado, by Gertrude Vanderbilt Whitney (49, 84, 89, 54).

Palace of Varied Industries.—Man with a Pick, Tympanum group of Varied Industries, New World Receiving Burdens of Old, Keystone figure, Power of Industry, all by Ralph Stackpole (33, 37, 132); Victory (on the gables of all the central palaces), by Louis Ulrich (28, 18).

Palaces of Manufactures and Liberal Arts.—Frieze over Portals, Craftsmen, Woman with Spindle, Man with Sledgehammer, all by Mahonri Young (33).

Palace of Education.—Typanum group, Education, by Gustav Gerlach (34, 132); Panel, Male Teacher, by Cesare Stea; Panel, Female Teacher, by C. Peters (34).

West Facade of Palace Group.—Thought (on columns flanking half domes), by Ralph Stackpole; The Triumph of the Field, by Charles B. Harley; Abundance, by Charles R. Harley; Ex Libris (half dome of Education), by Albert Weinert; Physical Vigor (half dome of Food Products), by Earl Cummings; Vestibule Fountains, by W. B. Faville (all on p. 34, 35).

North Facade of Palace Group.—The Conquistador and The Pirate, both by Allen Newman (35, 43, 44).

East Facade of Palace Group.—The Miner, by Albert Weinert (35).

Column of Progress.—The Adventurous Bowman, by Herman A, MacNeil (56, 61, 57); The Burden Bearers (frieze at base of group), by Herman A. MacNeil (61); Frieze of Progress (frieze on pedestal), by Isidore Konti (61, 60).

Court of the Universe.—Nations of East and West (on arches), by A. Stirling Calder, Leo Lentelli and Frederick G. R. Roth (52, 65, 63, 59).

Genii on Columns, by Leo Lentelli; Pegasus Spandrels, by Frederick G. B. Roth; Medallions, by B. Bufano and A. Stirling Calder; The Stars, by A. Stirling Calder; Signs of the Zodiac, by Herman A. MacNeil (all on p. 52).

Fountains of the Rising and the Setting Sun, by A. A. Weinmann (52, 90, 63, 69); The Elements, Earth, Air, Fire and Water, by Robert Aitken (52, 64); Music and Poetry, by Paul Manship (52).

Court of the Ages.—Fountain of the Earth, by Robert Aitken (65, 66, 72, 91-5, 70, 73); Columns of Earth and Air, by Leo Lentelli (66, 67); Ages of Civilization (on Altar) and Thought (on side altars), by Chester Beach (66, 67, 70); Primitive Man, Primitive Woman, and The Hunter (on arcades), by Albert Weinert (66); Modern Time Listening to the Story of the Ages (in North Court), by Sherry E. Fry (67, 72).

Court of Seasons.—The Harvest (on half dome), by Albert Jaegers; Rain and Sunshine (on columns), by Albert Jaegers; Feast of the Sacrifice (on pylons), by Albert Jaegers (76, 79); Fountain groups, The Seasons, by Furio Piccirilli (75-6, 90-1, 94); Attic figures of Abundance, and spandrels, by August Jaegers; Fountain of Ceres (forecourt), by Evelyn Beatrice Longman (77, 91, 79).

Court of Flowers.—The Pioneer, by Solon Borglum (81, 97); Fountain of Beauty and the Beast, by Edgar Walter (81, 95, 100); Flower Girls (in niches), by A. Stirling Calder (87, 100); The Fairy (above Italian towers), by Carl Gruppe; Lions, by Albert Laessle.

Court of Palms.—The End of the Trail, by James Earle Fraser (82, 96); Caryatids (on attic), by A. Stirling Calder and John Bateman; Spandrels (over portals), by Albert Weinert.

Palace of Machinery.—Genius of Creation, by Daniel Chester French (98, 147); Steam Power, Electricity, Imagination, Invention; Friezes, Genii of Machinery; Reliefs on bases of columns, Application of Power to Machines; all by Haig Patigian (97, 111); Eagles, by C. H. Humphries (97).

Palace of Fine Arts.—The Weeping Woman (on colonnade flower boxes), by Ulric H. Ellerhusen (102, 113); The Struggle for the Beautiful (three panels repeated on attic of Rotunda), by Bruno Louis Zimm (102, 114); Figures between panels, by Ulric H. Ellerhusen; Venus, Altar of Inspiration, by Ralph Stackpole (103, 197); Frieze of Genius (on Altar), by Bruno Louis Zimm; the Priestess of Culture (in Rotunda), by Herbert Adams (103); Aspiration (over main portal), by Leo Lentelli; Decorations on Flower Receptacles, by Ulric H. Ellerhusen (103).



II. Mural Paintings.

Tower of Jewels.—West panel—Joining of Atlantic and Pacific, center; Discovery, left; Purchase, right. East panel—Gateway of All Nations, center; Labor Crowned, left; Achievement, right; all by William de Leftwich Dodge (46, 53).

Arch of the Nations of the East.—South panel—The Western March of Civilization; North panel—Ideals Attending Immigration; both by Edward Simmons (55-6).

Arch of the Nations of the West.—North panel—Pioneers Leaving for the West; South panel—Pioneers Arriving on Pacific Coast; both by Frank Vincent Du Mond (56, frontispiece).

Court of the Ages.—Earth, two panels (northwest corner of corridor); Air, two panels (southwest corner of corridor); Water, two panels (southeast corner of corridor); Fire, two panels (northeast corner of corridor); all by Frank Brangwyn (67, 68, 71, 74).

Court of Seasons.—Art Crowned by Time (in half dome); Man Receiving Instruction in Nature's Laws (in half dome); Spring and Seedtime (two panels in corridor before niche of Spring); Summer and Fruition (two panels In corridor before niche of Summer); Autumn and Harvest (two panels in corridor before niche of Autumn); Winter and Festivity (two panels in corridor before niche of Winter); all by H. Milton Bancroft (75, 76).

Court of Palms.—Fruits and Flowers (lunette over entrance of Palace of Education), by Childe Hassam; The Pursuit of Pleasure (lunette over entrance of Palace of Liberal Arts), by Charles Holloway; The Triumph of Culture, sometimes called The Victorious Spirit (lunette over entrance of Court of Seasons), by Arthur Mathews (all on p. 82).

Rotunda, Palace of Fine Arts.—The Conception and Birth of Art, four panels alternated with four panels of the Golds of California. In order they are: The Birth of European Art, the Orange Panel, Inspiration in All Art, the Wheat Panel, the Birth of Oriental Art, Metallic Gold, Ideals in Art, the Poppy Panel; all by Robert Reid (103, 104).



(B) Statistics of Construction Work

Palace Size, feet Exhibit area Cost Mines and Metallurgy 451 x 579 5.75 acres $359,445 Transportation 579 x 614 7.25 acres $481,677 Agriculture 579 x 639 7.5 acres $425,610 Food Products 424 x 579 5.4 acres $342,551 Varied Industries 414 x 541 5. acres $312,691 Manufactures 475 x 552 5.35 acres $341,069 Liberal Arts 475 x 585 5.75 acres $344,180 Education 394 x 526 4.7 acres $425,610 Machinery 972 x 372 9. acres $659,665 Fine Arts 1100 x 186 5. acres $580,000 Horticulture 672 x 329 5. acres $341,000 Festival Hall seats 4000 $270,000 Tower of Jewels 435 feet high $428,000 Dome of Palace of Horticulture 185 feet high, 152 feet in diameter. Paved area within the Exposition grounds, 4,000,000 square feet, or 91.5 acres. At an average width of 40 feet, this is equal to nearly 20 miles of asphalt.



(C) The Exposition Roster

President.—Charles C. Moore.

Vice-Presidents.—William H. Crocker, Reuben B. Hale, I. W. Hellman, Jr., M. H. de Young, Leon Sloss, James Rolph, Jr.

Secretary.—Rudolph J. Taussig.

Treasurer.—A. W. Foster.

Board of Directors.—John Barneson, M. J. Brandenstein, John A. Britton, Frank L. Brown, George T. Cameron, Philip T. Clay, William H. Crocker, R. A. Crothers, M. H. de Young, A. I. Esberg, Charles S. Fee, H. F. Fortmann, A. W. Foster, H. B. Hale, I. W. Hellman, Jr., Homer S. King, Curtis H. Lindley, P. H. McCarthy, James McNab, Charles C. Moore, Thornwell Mullally, Dent H. Robert, James Rolph, Jr., A. W. Scott, Jr., Henry T. Scott, Leon Sloss, Charles S. Stanton, Rudolph J. Taussig, Joseph S. Tobin.

Executive Staff.—Director-in-Chief, Frederick J. V. Skiff; Director of Works, Harris D. H. Connick; Director of Exhibits, Asher Carter Baker; Director of Exploitation, George Hough Perry; Director of Concessions and Admissions, Frank Burt.

Architectural Commission.—George W. Kelham, San Francisco, Chief of Architecture; Willis Polk, William B. Faville, Clarence H. Ward, and Louis Christian Mullgardt, San Francisco; Robert Farquhar, Los Angeles; McKim, Mead & White, Carrere & Hastings, and Henry Bacon, New York. Associate Architects: Arthur Brown, Jr., G. Albert Lansburgh, Bernard R. Maybeck, San Francisco.

Division of Works.—Director, Harris D. H. Connick; Assistant Director of Works and Chief of Department of Construction, A. H. Markwart; Chief of Architecture, George W. Kelham; Chief, Department of Sculpture, K. T. F. Bitter; Acting Chief, A. Stirling Calder; Chief, Department of Color and Decoration, Jules Guerin; Chief, Department Civil Engineering, E. E. Carpenter; Chief, Mechanical and Electrical Engineering, Guy L. Bayley; Chief, Department of Illumination, W. D'A. Ryan; Chief, Department of Landscape Gardening, John McLaren.

Division of Exhibits.—Director, Asher Carter Baker; Chief, Department of Fine Arts, John E. D. Trask; Assistant Chief, Department of Fine Arts, Robert B. Harshe; Chief, Department of Education and Social Economy, Alvin E. Pope; Chief, Department of Liberal Arts, Theodore Hardee; Chief, Department Manufactures and Varied Industries, Charles H. Green; Chief, Department of Machinery, George W. Danforth; Chief, Department of Transportation, Blythe E. Henderson; Chief, Department of Agriculture, Thomas G. Stallsmith; Chief, Department of Live Stock, D. O. Lively; Assistant Chief, Department of Live Stock, I. D. Graham; Chief, Department of Horticulture, G. A. Dennison; Chief, Department of Mines and Metallurgy, C. E. van Barneveld.

Other Department Heads.—Traffic Manager, Andrew M. Mortensen. General Attorney, Frank S. Brittain. Commandant of Exposition Guards, Captain Edward Carpenter, U. S. A. Director of Congresses, James A. Barr. Director of Music, George W. Stewart. Director of Special Events, Theodore Hardee. Chief of Special Events, Rolls E. Cooley. Chairman of Music Committee, J. J. Levison.

California State Commission.—Governor Hiram W. Johnson, ex officio; Matt I. Sullivan, President, San Francisco; Chester H. Rowell, Fresno; Marshall Stimson, Los Angeles; Arthur Arlett, San Francisco. Commissioner General, W. D. Egilbert. Secretary, F. J. O'Brien. Controller, Leo S. Robinson.

Woman's Board of the Exposition.—Honorary President, Mrs. Phoebe A. Hearst; President, Mrs. F. G. Sanborn; Vice-Presidents, Mrs. Lovell White, Mrs. I. Lowenberg, Mrs. W. H. Taylor, Mrs. John F. Merrill, Mrs. Frank L. Brown, Mrs. Irving M. Scott; Secretary, Mrs. Gaillard Stoney; Treasurer, Mrs. P. E. Bowles; Assistant Treasurer, Mrs. E. R. Dimond; Auditor, Mrs. Charles W. Slack. Directors, Mrs. Edson F. Adams, Mrs. Frank B. Anderson, Mrs. P. E. Bowles, Dr. Marian Bertola, Mrs. Frank L. Brown, Mrs. Aylett R. Cotton, Mrs. Francis Carolan, Mrs. Edwin R. Dimond, Mrs. Joseph A. Donohoe, Mrs. Joseph D. Grant, Mrs. Reuben B. Hale, Mrs. P. C. Hale, Mrs. Phoebe A. Hearst, Mrs. I. W. Hellman, Jr., Mrs. C. Edward Holmes, Mrs. John Johns, Mrs. Henry Krebs, Mrs. Jesse N. Lillenthal, Mrs. I. Lowenberg, Miss Laura McKinstry, Mrs. John F. Merrill, Mrs. Robert Oxnard, Mrs. Horace D. Pillsbury, Mrs. George A. Pope, Mrs. F. &. Sanborn, Mrs. Henry T. Scott, Mrs. Laurence Irving Scott, Mrs. William T. Sesnon, Mrs. Ernest G. Simpson, Mrs. Charles W. Slack, Mrs. M. C. Sloss, Mrs. Gaillard Stoney, Mrs. William Hinckley Taylor, Mrs. William S. Tevis, Mrs. Lovell White, Mrs. Edward Wright.



Foreign Commissioners

Argentina.—Horacio Anasagasti, Resident Commissioner General; Alberto M. D'Alkaine, Secretary.

Australia.—Alfred Deakin, Commissioner General, resigned; Niel Nielsen, New South Wales; F. W. Hagelthorn, Victoria; F. T. A. Fricke, Victoria, Deputy Commissioner; J. A. Robertson, Queensland; George Oughton, Secretary.

Bolivia.—Manuel Vicente Ballivian, Commissioner General.

Canada.—William Hutchison. Canadian Exhibition Commissioner.

China.—Chen Chi, Resident Commissioner General; Allan S. Chow, Secretary.

Cuba.—General Enrique Loynaz del Castillo, Commissioner General; Dr. Amando Montero, Secretary.

Denmark.—Otto Wadsted, Resident Commissioner.

France.—Albert Tirman, Commissioner General; Jean Guyffrey, Secretary.

Guatemala.—Jose Flamenco, Resident Commissioner; Fernando Crux, Sec.

Honduras.—Antonio A. Ramirez F. Fontecha, Commissioner General; Fernando Somoza Vivas, Resident Commissioner.

Italy.—Ernesto Nathan, Commissioner General; Vito Catastini, Secretary.

Japan.—Haruki Yamawaki, Resident Commissioner General; Shinji Yoshino, Secretary.

Netherlands.—B. A. van Coenen Torchiana, Resident Commissioner.

New Zealand.—Edmund Clifton, Commissioner General; M. O'Brien, Sec.

Norway.—F. Herman Gade, Commissioner General; Birger A. Guthe, Sec.

Persia.—Mirza Ali Kuli Khan, Commissioner General.

Portugal.—Manuel Roldan, Commissioner General.

Siam.—James H. Gore, Commissioner General; A. H. Duke, Secretary.

Spain.—Count del Valle de Salazar, Representative.

Sweden.—Richard Bernstrom, Commissioner General; Herman Virde, Sec.

Turkey.—Vahan Cardashian, Imperial Adjutant High Commissioner.

Uruguay.—Eduardo Perotti, Commissioner General.



Commissioners From States and Islands

National Commission.—William Phillips, Chairman; Franklin D. Roosevelt, Judge W. B. Lamar; F. N. Bauskette, Secretary.

Arkansas.—F. B. T. Hollenberg, Commissioner General.

California.—Matt L Sullivan, President; W. D. Egilbert, Commissioner General; F. J. O'Brien, Secretary.

Hawaii.—R. P. Wood, Chairman.

Idaho.—Jay A. Czizek, Executive Commissioner.

Illinois.—Adolph Karpen, Chairman; Guy E. Cramer, Resident Executive; John G. Oglesby, Secretary.

Indiana.—S. P. Hamilton, Resident Commissioner.

Iowa.—W. W. Marsh, Chairman.

Kansas.—George H. Hodges, President; H. S. Dean, Secretary.

Maryland.—Roberdeau A. McCormick, Chairman; Robert J. Beachman, Sec.

Massachusetts.—Peter H. Corr, Chairman; Charles O. Power, Secretary.

Mississippi.—Isham Evans, Chairman; D. Ben Holmes, Secretary.

Missouri.—John L. McNatt, Chairman; Norman M. Vaughan, Secretary.

Montana.—David Hilger, Chairman; Frank A. Hazelbaker, Secretary.

Nevada.—George T. Mills, Commissioner.

New Jersey.—Robert S. Hudspeth, President; Charles F. Pancoast, Sec.

New York.—Norman E. Mack, Chairman; Daniel L. Ryan, Secretary.

North Dakota.—Governor L. B. Hanna, Chairman; Will E. Holbein, Sec.

Ohio.—D. B. Torpey, Resident Commissioner.

Oklahoma.—J. J. Dunn, Resident Commissioner; Mrs. Fred E. Sutton, Sec.

Oregon.—O. M. Clark, Chairman; George Ryland, General Manager.

Pennsylvania.—Martin G. Brumbaugh, President; A. G. Hetherington, Director in Charge; C. B. Carothers, Secretary.

Philippines.—Leon M. Guerrero, President; W. W. Barkley, Secretary.

Texas.—Mrs. Eli Hertzberg, Chairman; J. T. Bowman, Secretary.

Utah.—Glen Miller, Chairman; Mae Lail, Secretary.

Virginia.—W. W. Baker, Chairman; Alexander Forward, Secretary.

Washington.—John Schramm, President; Charles G. Heifner, Executive Commissioner.

West Virginia.—Paul Grosscup, Chairman; G. O. Nagle, Secretary.

Wisconsin.—John T. Murphy, Chairman; Arthur W. Prehn, Resident Commissioner; D. E. Bowe, Secretary.



(D) Bibliography

The Panama-Pacific Exposition presents so many aspects of public importance that it will doubtless inspire a considerable library of books upon its various features. Those heretofore published, however, agree in testifying to the unprecedented appeal which it makes on its artistic side; they have attempted little more than to describe the architecture of the main exhibit palaces, and interpret the Sculpture and murals which adorn them.

Of the titles given below, the first two volumes are wholly of this character. Mrs. James' little book has especial reference to the story told by the decorative Sculpture. The attractive Neuhaus volume is a more critical discussion of the Exposition art, as distinguished from exhibits in the Palace of Fine Arts, which are to be covered by Prof. Neuhaus' second book. To an outline of Exposition art, Mr. Cheney's booklet adds a brief, helpful account of the Fine Arts exhibit. Mr. Barry's more ambitious volume opens with an interesting chapter on the Exposition's inception and growth; the remainder of the text "is mainly devoted to the artistic features associated with the courts and the main palaces.".

The other books named describe and show "Exposition art."



Palaces and Courts of the Exposition, by Juliet James. 16mo., 151 pp.. including 32 illustrations. San Francisco, the California Book Co.

The Art of the Exposition, by Eugen Neuhaus. 8vo., 100 pp., with 32 ills. San Francisco, Paul Elder & Co.

An Art-Lover's Guide to the Exposition, by Sheldon Cheney. 12mo., 100 pp., including 20 ills. Berkeley, published by the author.

The City of Domes, by John D. Barry. 12mo., 142 pp., with 48 ills. San Francisco, J. J. Newbegin.

In the Court of the Ages (Poems), by Edward Robeson Taylor. 8vo., 33 pp., 7 ills. San Francisco, A. M. Robertson.

The Sculpture and Murals of the Panama-Pacific International Exposition, by Stella G. S. Perry. 12mo., 112 pp., including 47 ills. San Francisco, the Wahlgreen Co.

The Galleries of the Exposition, by Eugen Neuhaus. 8vo., 108 pp., with 30 ills. Paul Elder & Co.

The Sculpture of the Exposition Palaces and Courts, by Juliet James. 12mo., 32 ills. San Francisco, H. S. Crocker Co.



Index



In order not to overload this index with details which, for most readers, would render it inconvenient, only the more important Sculptures and murals among the "Exposition art" have been listed here, together with the different national and historical sections of the Fine Arts Palace, and the names of artists mentioned most frequently in the text. Fuller lists will be found on p. 130-133 (winners of grand prizes, medals of honor and gold medals in the Fine Arts Exhibit) and p. 194-5 (murals and Sculptures).

Figures in light-face type refer to pages in the text, those in heavier type to the illustrations.

Abbey, Edwin A., painter, 107, 115. Adams, Herbert, sculptor, 103, 104. "Adventurous Bowman, The," 56, 58. Agriculture, Palace of, 16; architecture and Sculpture, 35, 36, 51; exhibits, 146, 162. "Air" Sculpture by Aitken, 52; murals by Brangwyn, 67-71, 74. Aitken, Robert, sculptor, 52, 72, 91. "Among the 'White Birch Trunks," 128, 126. Arabian Nights, Fountain of, 82. Arch, Tower of Jewels, 42, 51, 53. Arches of the Court of Seasons, 77. Arches of the Rising and the Setting Sun, architecture, 61; Sculpture, 52. 55; murals, 55, 56; frontispiece, 59, 63. Architects, Board of, 13. Architecture, main palace group, 27-36; Tower of Jewels, 49; Court of the Universe, 51; Court of the Ages, 66-7; Court of Seasons, 76; Court of Flowers and Palms, 78; Palace of Machinery, 96; Fine Arts, 101-2. Argentina, appropriates $1,700,000 for its representation at P. P. I. E., 14; Fine Arts exhibit, 129, 131; forestry exhibit, 153; pavilion, 154, 156, 169. Arkansas, building, 176. Australia, Fine Arts exhibit, 131; pavilion, 155. 148. Autumn, Fountain of, 76, 91. Avenue of Palms, 16, 18. Aviation, 151, 188, 17, 192. Awards in Fine Arts exhibit, 130-133. Bacon, Henry, architect, 13, 75. Bancroft, H. Milton, mural painter, 75, 76. Baths of Caracalla, 96. Beach, Chester, sculptor, 66. Beachey, Lincoln, aviator, 161. "Beauty and the Beast," Fountain of, 81; described, 95, 100. Belgium, exhibits in French Pavilion, 108, 164. Bennett, Edward H., architect, plan for Exposition, 13. Bitter, Karl T. F., chief of Sculpture, 14. 104, 110. Blank Walls, use of in Exposition architecture, 28. Bolivia, pavilion, 156. Borglum, Solon, sculptor, 81. Boston Symphony Orchestra, 142-145. Brangwyn, Frank, painter, 67-71, 82; etchings, 110. Brown, Arthur, architect, 13. Burbank, Luther, exhibitor, 153. Burroughs, Edith Woodman, sculptor, 49, 89. Byzantine architecture, 27, 28. Calder, A. Stirling, sculptor, 52, 55, 61, 81, 83, 84. California, votes $5,000,000 bonds for Exposition, 13; Counties raise $2,500,000, 14; Mining exhibit, 150; building, 171, 179, 182. Canada, pavilion, 156, 161, 148. Ceres, Fountain of, 77, 91, 79. Chase, William M., painter, 117. Chicago, exhibit, 175. China, Fine Arts exhibit, 109, 127, 128, 132; industrial exhibits, 152; pavilion, 161, 162. Color of Exposition palaces, 36-41. Column of Progress, 16, 36; description, 50, 51, 56, 61, 57, 58; frieze, 61, 60; night illumination, 140. See also "Adventurous Bowman." "Cortez," 46, 48. Cortissoz, Royal, art critic, quoted, 140. Court, key to the palace group, 50. Court of Abundance, see Court of the Ages. Court of the Ages (or Court of Abundance), 16; its gardens, 20; architecture, Sculpture, and symbolism, 65-72, 70; Fountain of Earth, 72, 73; Brangwyn's murals, 67, 68, 71, 74; night illumination, 139, 140. Court of Flowers, 16; Garden in, 20; Portals, 34; architecture, Sculpture and gardening, 78, 81, 82, 95, 85; Fountain of "Beauty and the Beast," 81, 100; "The Pioneer," 81, 87. Court of Palms, 16; Portals, 34; architecture, Sculpture and gardening, 78, 81, 82, 95, 88, 93; "The End of the Trail," 82, 86. Court of Seasons, 16; architecture, Sculpture and murals, 75-77; night illumination, 139, 140, 79, 80, 94. Court of the Universe, 16; its gardens, 20; its coloring, 39; architecture, Sculpture and murals, 50-62; inscriptions, 62; night illumination, 139, 140. Coxhead, Ernest, architect, prepares first plans for Exposition, 14. Crocker, W. H., vice-president of the Exposition, 197. Cuba, rare trees and plants in Palace of Horticulture, 22, 25; Fine Arts exhibit, 122, 127, 132; industrial exhibits, 152; horticultural exhibit, 153; pavilion, 162. Deniville, Paul, his Imitations of travertine, 40, 96. Denmark, paintings, 108; pavilion, 162. De Young, M. H., vice-president of the Exposition, 197. Dodge, William de Leftwlch, mural painter, 46, 49. Du Mond, F. V., painter, 55, 56, 118. Duveneck, Frank, painter, 117. Earth, Fountain of, 66, 67, 72; symbolism of, 91, 92; Illumination, 95, 70, 73. "Earth," Sculpture by Aitken, 52, 64; murals by Brangwyn, 67-71. Education and Social Economy, Palace of, 16; architecture and Sculpture, 34, 35; exhibits in, 152, 138. El Dorado, Fountain of, 49, 84, 89, 54, "Elements," Sculptures by Aitken, 52, 64; murals by Brangwyn, 67-71, 74. Ellerhusen, Ulric, sculptor, 102, 103. "End of the Trail, The," 81, 82, 86. Energy, Fountain of, 56, 83-4, 47. Esplanade, 19. Etching, 121, 122, Fairy Tales, 82, Farquhar, Robert, architect, 13, 25. Faville, Wm. B., architect, 13, 27, 35. "Feast of the Sacrifice, The," 76, 79. Festival Hall, 16; architecture and Sculpture, 25, 26; organ, 26; music in, 141-5; organ an exhibit, 152; views of, 29, 82. Fine Arts, Palace of, relation to Exposition's architectural plan, 16, 36; architecture and Sculpture, 101-103; murals, 103, 104; statuary in rotunda and colonnade, 104, 130; should be preserved in Golden Gate Park, 104, 107; The Annex, 107, 109; night illumination, 140, 112, 113, 114, 119, 137. Fine Arts exhibit, 107-130; mainly contemporaneous, 107-8; great extent of the collection, 108; American art, 108-9; unexpected foreign representation, 109; the Futurists, 110; the United States section, 110, 115-122; Historical section, 110-115; Foreign sections, 122-130; awards of grand prizes, medals of honor, and gold medals, 130-3. "Fire," Sculpture by Aitken, 52, 64; murals by Brangwyn, 66-71. Fisheries, 163. Flanagan, John, sculptor, 46. "Flower Girl," 81, 100. Food Products, Palace of, 16; architecture and Sculpture, 34, 35; exhibits, 146, 153, 119. Forestry, 152, 155, 156, 177, Foster, A. W., treasurer of the Exposition, 197. Fountain of "Beauty and the Beast," 81, 95, 100. Fountain of Ceres, 77, 91, 79. Fountain of Earth, 66, 67, 72; symbolism of, 91, 92; Illumination of, 95, 70,73. Fountain of El Dorado, 49, 84, 89, 54. Fountain of Energy, 16; described, 83, 84, 47. Fountains of the Rising and the Setting Sun, 52, 90, 63, 69. Fountains of the Seasons, 75, 76, 90, 91; fountain of Summer, 94. Fountain of Youth, 49, 84, 89, 53. Fountain, The Mermaid, 84, 99. France, Fine Arts exhibit, 107, 108, 109, 110, 122-124, 130; pavilion, 162, 163, 164, 157, 158. Fraser, James Earle, sculptor, 82. French, Daniel C., sculptor, 98, 110. Frieseke, Frederic C., painter, 118, 121. Fry, Sherry E., 26. Futurists, The, 110. Gallen-Kallela, Axel, painter, 110. "Genius of Creation, The," 98, 147. Gerlach, Gustav, sculptor, 34. Germany, Fine Arts exhibit, 109, 129, 132; industrial exhibits, 151, 152. Grafly, Charles, 104. Great Britain, Fine Arts exhibit, 109, 115; industrial exhibits, 151. Greece, pavilion, 164. Greek architecture, 27, 78. Guatemala, pavilion, 161. Guerin, Jules, chief of color, 14; color scheme, 36-41, 49, 121. Hale, R. B., proposes Exposition, 11; vice-president, 197. Hassam, Childe, painter, 82, 117. Hastings, Thomas, architect, 13. Hawaii, exhibits, 153; building, 177. Hearst, Mrs. Phoebe A., 171. Hellman, I. W., Jr., vice-president of the Exposition, 197. "High Tide: Return of the Fishermen," 124, 125. Holloway, Charles, painter, 82. Honduras, pavilion, 161. Hoo Hoo, House of, 25. Horticulture, Palace of, 16; architecture and Sculpture, 21, 22; Cuban display, 22, 25; exhibits in, 153; view of, 24. Hungary, Fine Arts exhibit, 109, 132. Idaho building, 176. Illinois, building, 175, 180. Illumination, 95, 134-140, 37, 135, 137, 192. Impressionists, 110, 116. Indiana, building, 175. Inscriptions, on Tower of Jewels, 45, 46; In Court of the Universe, 61, 62; In Court of the Seasons, 77. Iowa, building, 175. Italian fountains, 35. Italian towers, 28, 18. Italy, Fine Arts exhibit, 107, 108, 109, 110, 122, 124, 127, 132; industrial exhibits, 151; pavilion, 164, 165, 159. Jaegers, Albert, sculptor, 76. Jaegers, August, sculptor, 76. Japan, Fine Arts exhibit, 109, 122, 132, 133; Mining exhibit, 150; industrial exhibits, 151, 152; pavilion, 165, 166, 169. Joy Zone, outlay of concessionaires, $10,000,000, 14, 16; described, 193-4. Kansas, building, 176. Keith, William, painter, 107, 117. Kelham, George W., architect, 13; describes co-operative plan of Exposition, 15; Courts of Flowers and Palms, 78. Konti, Isidore, sculptor, 56, 61. Ladd, Anna C., sculptor, 130. Lafayette, statue of, 104, 130, 114. Landscape Gardening, Importance in Exposition plan, 19, 20. Lemare, Edwin H., organist, 143, 145. Lentelli, Leo, sculptor, 55, 81, 104. Levison, J. B., head of music committee, 141, 142. Liberal Arts, Palace of, 16; architecture and Sculpture, 33, 34; exhibits in, 146, 150, 151; view of, 38. Lighting of Exposition, 134-140. Lincoln, Abraham, statue of, 130; relics in Illinois building, 175. "Listening Woman," 26, 32. Live-Stock exhibit, 16; classes and awards, 178-185. Longman, Evelyn Beatrice, sculptor, 77, 91. Machinery, Palace of, ground broken for, 14; relation to Exposition's architectural plan, 16, 36; architecture and Sculpture of, 96-98; exhibits in, 146, 149, 150; views of, 105, 106, 111. MacNeill, H. A., sculptor, 52, 56, 61. "Man with a Pick," 33. McKim, Mead and White, architects, 13, 51. McLaren, John, chief of landscape engineering, 14; Importance of his gardens in the Exposition scheme, 19, 20; his gardening conforms to color scheme, 41. Manufactures, Palace of, 16; architecture and Sculpture, 33, 34; exhibits in, 146, 151. Maryland, building, 174. Massachusetts, exhibits, 152; building, 173, 181. Mathews, Arthur F., painter, 82, 117. Maybeck, Bernard B., architect, 13, 25, 101, 102. Mermaid Fountain, 84, 99. Mines and Metallurgy, Palace of, 16; architecture and Sculpture, 35, 36; exhibits in, 150. Miniatures, Fine Arts exhibit, 121, 122. Mississippi, building, 174. Missouri building, 175, 176, 180. Montana, Mining exhibit, 150; building, 176. Montessori, Maria, educator, 152. Moore, C. C., president of the Exposition, 141, 197. Moorish domes, 27; towers, 28. "Mother of the Dead," 130, 120. Motion Pictures, used for exhibition purposes, 146, 149. Muck, Karl, director of Boston Symphony Orchestra, 143. Mullgardt, Louis Christian, architect, 13, 65-67, 72. Munch, Edvard, painter, exhibit in Fine Arts Annex, 109. Mural paintings, see list in Appendix, pp. 195, 196. Music at the Exposition, 141-5. Nations of the East and West, Arches of, 52, 55, 59, 63. Netherlands, The, Fine Arts exhibit, 109, 130, 133; Industrial exhibits, 152; horticultural exhibit, 153; pavilion, 166, 157. Nevada, building, 176. New Jersey, building, 173, 174. Newman, Allen, sculptor, 35. New Orleans, 13. New York City, building, 173. New York State, appropriates $1,000,000 for its representation at P. P. I. E., 14; building, 172, 173, 170. New Zealand, exhibits, 152, 153; forestry exhibit, 153; pavilion, 167. Niehaus, Charles, sculptor, 46. North Dakota, building, 176. Norway, Fine Arts Exhibit, 109, 133; pavilion, 167. Ohio, building, 174, 175. Oklahoma, building, 176. Oregon, exhibits, 152; building, 172, 191. Organ, in Festival Hall, 26, 141-5, 152; In Illinois building, 175. "Outcast, The," 130, 136. Palaces of main Exposition group, see Agriculture, Education, Food Products, Liberal Arts, Manufactures, Mines, Transportation, Varied Industries, Machinery, and Fine Arts. Panama, pavilion, 161. Panama Canal, the motive of the Exposition, 11, 28; reproduction of 193. Panama-Pacific Exposition; motive and planning, 11; first suggested, 11; plans interrupted by fire of 1906, 12; Exposition Company formed and subscriptions begun, 12; California and San Francisco vote bonds, 13; San Francisco wins Congressional approval, 13; national aid not asked, 13; site selected, 13; President Taft breaks ground, 13; Board of Architects appointed, 13; Ground Plan perfected, site prepared and work begun, 14; Exposition ready on time, 14; cost, $50,000,000, 14; Ground plan described, 16-21, 27-41. Patigian, Haig, sculptor, 98. Pennell, Joseph, 122. Pennsylvania, building, 173, 181. Pennsylvania Railway station, New York, 96, 107. Philadelphia, exhibit, 152. Philippines, The, Fine Arts exhibit, 128, 133; forestry exhibit, 152, 153; building, 177. Piccirilli, Furio, sculptor, 75, 91. Piccirilli, Attilio, sculptor, 130. Pietro, C. L., sculptor, 130. Pine and Redwood Bungalows, 25. "Pioneer, The," 81, 87. "Pioneer Mother," 104. "Pirate, The," 35, 44. Polk, Willis, architect, 13. Portals: Palace of Varied Industries, 28, 33, 18, 37; Manufactures and Liberal Arts, 33, 34; Education, 34, 35, 138. Half-domes, Education and Food Products, 35; on north facade, 35, 43, 44; east facade, 35, 36; on interior aisle, 36; in Courts of Flowers and Palms, 82. Portugal, Fine Arts exhibit, 109, 128, 129, 133; building, 167. Press Building, 26. "Priest, The," 46, 44. Putnam, Arthur, 84. Pyle, Howard, painter, 121. Redfield, E. W., painter, 117. Reid, Robert, painter, 103, 104, 118. Richardson, Symmes, architect, 56. Rising and Setting Sun, Fountains of, 52, 90, 63, 69. Rodin, Auguste, sculptor, 163; his statue, "The Thinker," 158. Rolph, James, Jr., vice-president of the Exposition, 197. Roman architecture, 27, 51, 61, 96. Roth, Frederick G. R., sculptor, 55, 61. Rumsey, Charles C., sculptor, 46. Ryan, W. D'A., illumination expert, 14, 45, 134. Sabin, Wallace, organist, 142. Saint-Gaudens, Augustus, sculptor, 130. Saint-Saens, Camille, composer, 142-5. San Francisco, votes 5,000,000 bonds for Exposition, 13; raises total of $12,500,000, 14; wins fight for Congressional approval, 13. Sargent, John S., painter, 107, 117. Schumann-Heink, Mme., singer, 143. Scudder, Janet, sculptor, 130. Sculpture, exhibits In Fine Arts Palace and its Colonnade and Rotunda, 108, 110, 117, 124, 125, 130; "Exposition Sculpture," adorning the palaces, courts and gardens, see list in Appendix, pp. 195, 196. Seasons, Court of, see Court of Seasons; Fountains of, see Fountains. Setting Sun, see Rising and Setting Sun. Siam, pavilion, 167. Simmons, Edward, mural painter, 55, 56. Sloss, Leon, vice-president of the Exposition, 197. Smith, Arthur, aviator, 151, 188, 192. Sousa, John Philip, musical conductor, 143-5. South Gardens, 16; hedge of mesembryanthemuin, 19; flowers in, 20; description of South Gardens and their buildings, 21-26; view of, 23. Spain, Fine Arts exhibit, 109, 128, 132. Sports and games, Exposition contests and prizes, 186-190. Spring, Fountain of, 75, 76, 91. Stackpole, Ralph, 33, 34, 103. Stars, In Court of Universe, 51, 52. Stewart, G. W., musical director, 142. St. Louis, city, exhibit, 152. Summer, Fountain of, 76, 91, 94. Sweden, Fine Arts exhibit, 109, 128, 133; pavilion, 167, 168, 160. Taft, William H., breaks ground for Exposition, 12, 13. Tarbell, Edmund C., painter, 117. Taussig, Rudolph J., secretary of the Exposition, 197. Texas, building, 176. "Thinker, The," 158. Tiffany, Louis C., exhibit In Fine Arts Palace, 118. Tonetti, F. M. L., sculptor, 46. Tower of the Ages, 66, 67, 139, 70. Tower of Jewels, 16; central feature of main palace group, 28, 33; architecture and Sculpture, 42-49; Illumination, 42; "jewels," 45; historical significance, 42-49; epitomizes the Exposition art, 49; relation to Court of the Universe, 51; night illumination, 134, 139, 140; views of, 47, 135. Transportation, Palace of, 16; architecture and Sculpture, 35, 36, 51; exhibits in, 150, 151. Travertine, Artificial, material of Exposition palaces, 36, 39, 40, 77, 96, 107. Trumbull, Edward, painter, 173. Turkey, pavilion, 168. Twachtman, John H., painter, 117. Tympanum, Palace of Varied Industries, 33, 138; Education, 34, 138. United States, Fine Arts exhibit, 108-110, 115-118, 121, 131. United States Government exhibits, 150, 152, 153. Uruguay, Fine Arts exhibit, 122, 127, 133; Industrial exhibits, 152. Utah, Mining exhibit, 150; building, 177. Varied Industries, Palace of, 16; its architecture and Sculpture described, 28, 33, 36; exhibits, 146, 151. "Victory," crowning all gables of main palace group, 28, 18. Virginia Building, 174. "Walled City," main group of exhibition palaces, 15; architecture of, 27-36; material and color, 36-41. Walter, Edgar, sculptor, 81, 95. Ward, Clarence R, architect, 13, 96. Washington, state, exhibits, 153; building, 172, 191. Water colors, in Fine Arts exhibit, 121, 128. "Water," murals by Brangwyn, 67-71. Weinert, Albert, sculptor, 35. Weinmann, A. A., sculptor, 52, 90, 115. Weir, J. Alden, painter, 121. West Virginia, building, 174. Whistler, James McNeill, painter, 107, 117, 122. Whitney, Gertrude Vanderbilt, sculptor, 49, 82, 84, 95, 110. Winter, Fountain of, 76, 91. Wisconsin, building, 175. Wolf, Henry, etcher, 122, 130. Young, Mahonri, 33, 34. Youth, Fountain of, 49, 84, 89, 53. Young Women's Christian Association Building, 26. Zimm, Bruno Louis, 102, 103.

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