  Title: Palaces and Courts of the Exposition Author: Juliet James Edition: 10 Language: English This eBook was prepared by David Schwan <davidsch@earthlink.net>. Palaces and Courts of the Exposition A Handbook of the Architecture Sculpture and Mural Paintings with By "The trail is lost, the path is hid and winds that blow from out the ages sweep me on to that chill borderland where time's spent sands engulf lost peoples and lost trails." Marian Manville Pope A Foreword The Pastel City by the Sea There is a hill-crowned city by a silver sea, near a Golden Gate. For ages the water has washed from an almost land-locked bay against this hill-crowned city, and on its northern side has created of the shore an amphitheatre stretching for some three miles to the western headlands. Behind this amphitheatre rises, in terraces, the steep hills of this water-lashed city, and in part, a forest of pines stretches to the west. Man has flanked this reach of shore by two lowering forts, and in front, across the sapphire sea, one looks onto the long undulations of hills, climaxed by grand old Tamalpais. Just three years ago and one saw in this same low-lying shore only a marshy stretch, with lagoons working their way far into the land - the home of the seagull. There came a time when, had you looked closely, you would have seen coming thru the Golden Gate a phantom flotilla of caravels, freighted with clever ideas. On the vessels came; at the prows were several noble figures: Energy, They had dug and delved with mighty Hercules and had created that great gap that has severed two continents. Then, leaving their work to be finished, they had sailed on to celebrate their triumph in the Land of El Dorado, the region of their desires. In a shallop in front of these floating winged vessels, riding on the waves, came Venus, rowed by the fairies - in her hand the golden ball of opportunity. The mermaids, the dolphins, the little sea-horses sported in the wake of these vessels, leaving a long line of foam and silver as they sped on. Over the waves they came to the Golden Land of the Pacific. They moored their vessels by the fort-flanked shores, and stepping out upon the haunt of the seagull, they moved boldly across this unsightly stretch of wave-washed land. Enterprise and Energy pushed ahead: the Fairy ever flitting near. At a signal from Enterprise the Fairy turned her wheel, Venus threw her golden ball of opportunity, and lo! out of the foam of the sea rose a Venus city with the round sea bubbles resting on the roofs. One day a man appeared on the hilltop o'erlooking this wondrous city and by his magic power, being filled with music, with color-music, he cast a spell and behold a pastel city by the sea - such an one as only those who dream could think of; a city glowing with warmth of color, with a softness and mystical charm such as only the brain of Jules Guerin could produce. He is the conductor of this wondrous symphony, this beautiful Mozart fantasia, and if you listen, you can hear the strains of the great beautiful melodies wafted now east, now west, now north, now south, rising to great climaxes, falling back to great chords of harmony, or, in an allegro movement, causing you almost to trip with delight in the joy of it all. Your eye is enthralled with the beauty of the coloring. One sees turquoise green domes floating in a silver-moated ether, long colonnades of glacial ice columns leading to regions beyond, where quiet silver pools throw back the mirrored glories. Battalions of daffodils holding their long sabers stand in the South Garden, making ready for the great festival. Soon those daffodils will raise their golden trumpets and will sound the fanfare at the opening of the Great Jubilee, and up will spring two hundred thousand wide-eyed yellow pansies to look and wonder at the marvelous beauty and help in the hallelujah chorus that will be one great poeon of joy - one splendid hymn of praise. And the blue eucalypti against the walls will lend their voices, the yellow acacias will add their cadences; while down by the great lagoon, ten thousand periwinkles will dance for joy. Far out on the waters will be intoned to the rhythm of the waves a chorus from white-robed water-lilies, who, like a throng of choristers, will send their anthems rippling over the sun-kissed waves. The Spirit of the East that has added its domes, its minarets, its soft-glowing colors, will remain and join hands with the Spirit of the West, that strong, pulsating energetic spirit, and the harmony produced will vibrate from the shores of the Occident to the shores of the Orient and bring about a better understanding, a great world peace. And the world will come to listen. The great music will sound across the waters, and the world will be the better in its way of thinking, of working, of living - and all because of the great beauty. Wonderful is it to be living today, to have the opportunity of watching the beginning of this mighty growth; to be present at one of the world's greatest events. And the pastel city by the sea will not leave us, for, as the years go on, whatever be our mission, the vision of this dream-city will float before us, leading us to finer, higher works, strengthening our ideals, and causing us to give only of our finest fiber. Table of ContentsForeword - The Pastel City by the Sea List of Illustrations "The End of the Trail" (by James E. Fraser) Palaces and Courts of the Exposition The Prayer of Bishop Nichols of the Episcopal Diocese of California, Given at the The Blessing of God Almighty, the God of the Ages, the God of the Oceans, the God of the Continents, the God of the Genius of man and the God of every Exposition of human achievement and progress - the Blessing of God Almighty, the Father, the Son and the Holy Ghost, be upon you and remain with you always. Amen. The 148th Psalm Read by Rabbi Meyer of San Francisco at the Opening of the Exposition Praise ye the Lord. Praise ye the Lord from the heavens; praise Him in The Prayer of Bishop E. J. Hanna of the Catholic Diocese Given at the Opening of the Exposition O God of our Fathers, in Whose power are the destinies of men, in Whose hands are the ends of the world, look down with loving-kindness on Thy children here gathered in Thy Name. From the uttermost bounds of the earth have we come to commemorate one of man's greatest achievements adown the ages. Make us, Thy children, realize that Thou art the source of light and of inspiration; make us realize that great things are wrought through Thee alone. To the city of St. Francis, enthroned in beauty by the western sea, give the grace of kindly hospitality, the blessing of an ever-widening vision of true greatness, a faith and a hope that know not failure. To our glorious California give abundance of harvest, a bounteous plenty of Thy treasures and a valiant race of men blessed in the knowledge and sanctified in the observance of Thy law. To our favored land, which is from sea to sea, vouchsafe strength and unity and that peace which the world cannot give. Make us feel that the mighty City of God rises sublime through the centuries only when built on the foundations of justice and of truth; and, finally, to all the nations here represented, grant a vision of the highest things of life - of the things that make for true progress, for real brotherhood, for lasting union, for unfailing love, for mighty achievement in time, and for that glory which is everlasting. Amen. The Chief's of Departments Architects - Mr. George Kelham of San Francisco. Architecture and Architects Manager-in-Chief - Geo. Kelham of San Francisco. Sculptors (The numbers indicate the other works by the same sculptors to be seen in the Fine Arts Palace.) Adams, Herbert (3) MURAL PAINTERS(The numbers indicate the other works by the same artists to be seen in the Fine Arts Palace.) Bancroft, Milton Materials of the Palaces The buildings, as well as all of the statuary, are made of artificial travertine, of a smoked-ivory tone. Real travertine is found in and around Rome, especially at Tivoli. It is a pure carbonate of lime, a creamy white deposit formed from dripping water, in stratified form, with cavities and fissures lined with crystals. The Colosseum and St. Peter's at Rome are both made of this material. The imitation travertine made with concrete, and used in the second story of the Pennsylvania Station in New York in combination with real travertine of the first story, was invented by Mr. Symmes Richardson of the firm of McKim, Meade and White of New York. He also brought the real travertine to America to have it used for the first time in a large building, the Pennsylvania Station. Mr. Paul Deneville of New York has most successfully made a plastic travertine, composed of gypsum from Nevada combined with hemp fiber and a coloring pigment, which has been applied to all of the Exposition buildings, producing a most pleasing glareless background under the sunny skies of San Francisco. The roofs are covered with imitation tiles, since real tiles would be too expensive for Exposition purposes. Material of the Statues The architectural statues - that is, those directly connected with the architecture - are of smoked-ivory tone, so that you see them as part of the architectural scheme. Those far away from the eye, used as free statues, are, in the main, golden. Those nearer the eye simulate bronze, the special color that seems worked out from the color of the blue eucalyptus. All the statues of the Exposition palaces and courts are of travertine, the material of which the buildings are made. Machinery Palace Architects - Ward and Blohme of San Francisco. The palace is one of grandeur, dignity and great beauty. The architecture has been inspired by such old Roman thermae as the The ornamentation is of the Italian Renaissance style, worked out on a building that in form suits the needs of a great palace of machinery. The gable points at the top of the western faÇade are such as one sees in the restoration of the Baths of Caracalla. The first and only other expression of this style in America is seen in the Pennsylvania Station of New York City. In the Transportation Palace can be seen a model of the proposed plan for a new Union Depot for Chicago, with a similar gabled effect. The three arches reflect on the exterior the three aisles of the same portion of the palace within. The great columns in front, and also in the vestibule, simulate Siena marble. The entablature carried across the faces of the arches supports American eagles by C. A. Humphries. Eagles are also seen at the corners of the Corinthian capitals. This bird of freedom can be found all over the Exposition. Notice that Mr. Jules Guerin, the great color wizard, leads you by means of the blue ground of the capitals, the blue between the dentils, the blue between the consoles to the blue sky above. The principal lighting is by great clerestory windows - great windows at the north and the south ends - also by skylights. The building covers nine acres, and is the largest wooden structure in the world. It is about three blocks long. The statues as well as the reliefs are by Haig Patigian of San Vigorous types like machinery itself are used. The generation, transmission and application of power as applied to machinery are most interestingly represented. The decorated drums of the columns show the Genii of Machinery. The eyes of these figures are closed, reminding you that power comes from within. Notice how from any point of view your figures suggest support at the sides of the drum. The very position of the arms gives you a strong feeling of support. The figures on the spandrels represent the application of power to machinery. The figures on the pedestals represent: 1. "Steam Power" with the lever that starts the engine. 2. "Invention" showing a more intellectual type of face, carrying the figure with wings spread, suggesting the flight of thought. This thought, as it were, is above the world. 3. "Electricity" with foot on the earth, suggesting that electricity is not only in the earth, but around it. He carries his symbol, electricity. 4. "Imagination," showing man with his eyes closed - seeing within. The bird of inspiration, the eagle, is about to take flight. The wings on the head suggest the rapidity of thought or action. Inside this great palace one sees the latest inventions in machinery. Ponderous machines capable of shaping tons of metal, great labor-saving machines, and all sorts of electrical appliances. "Safety first" is a pronounced feature of this exhibit. Palace of Varied Industries Architect - W. B. Faville of San Francisco. The high walls, averaging seventy feet to the cornice, with their respective buttresses, are strongly suggestive of the California missions of the eighteenth century. The "California bear" and the Seal of California are in decorative and suggestive evidence at the tops of the buttresses. The green domes on the palace belong to the Byzantine school of architecture, such domes as one sees in the mosques of Constantinople and other Mohammedan centers. The windows seen in the corner towers are the same kind that one sees used in the majority of mosques. The beautiful central portal, facing south, is modeled after the Portal of the Hospice of Santa Cruz at Toledo, Spain. It is 16th century Spanish Renaissance, known as the Plateresque style (from platero, silversmith). The columns suggest a wood origin and look as if they had been turned in a lathe. The portal is the color of cork, illuminated here and there with niche walls of pink, and touches of ultramarine blue. The fine figure work representing the modern industrial types is by Ralph Stackpole of Oregon, whose home is now in San Francisco. He expresses himself most simply and unaffectedly, in clear, broad treatment, and makes the ordinary workman a man to be honored and respected. The upper figures represent an old man handing his burden to a younger man. The Old World Handing Its Burden to the Younger World, that is America, is finely suggested. The keystone figure represents The Power of Industry, the man who both thinks and uses his hands. In the tympanum are the types representing the Varied Industries. In the center is Agriculture representing the food side of life. On the left a workman, possibly an architect, suggests the refinements of the varied industries, while on the right one sees the ordinary workman with his sledge-hammer, bringing to mind the rougher side of industry. In the left corner a woman with her spindle - a lamb standing near - recalls the making of textiles. Commerce occupies the right corner, holding the prow of a vessel with its figurehead. The Workman with his pick is repeated in the four niches. The two flanking portals are also in the plateresque style with devices of this Spanish Renaissance period represented on them. The shields, or cartouches as they are called, have no special meaning, being only ornaments of this particular period. The portals on the east of the Palace of Varied Industries and also of the Palace of Mines are suggestive of gateways of old Roman walled cities, like those of Perugia, for instance. This Italian type of portal is chosen since Machinery Palace opposite is in the Italian style of architecture. Notice how the pastel pink accents the portal. The figure of "The Miner" in the niches is by Albert Weinert, whose work in the Congressional Library at Washington is well known. The Palace of Varied Industries has an exhibition of the more refined manufactures, those articles that are regarded more as luxuries, such as bronzes, jewelry, silverware, fine pottery, porcelains, rugs, leather work, silks, etc. The Palace of Mines deals with the smelting of metals, a fine exhibition of different ores, and above all "Safety First" in its relation to mines. The Mines Rescue work is most interesting. Flora of the Avenue of Progress and the Avenue of Palms Eucalyptus globulus (blue gum). Notice Mr. McLaren's devices for covering the ground. The lophantha lawn, it might be called, is an artificial device for producing a most lovely effect. The tree is stripped of all branches until it has attained the height of four feet, the top being trained and flattened into a head five feet across. The trees are placed close enough together so that the tops interlace, producing thereby a continuous green surface. The veronica, buxifolia is the light green border at the side and in front of the Palace of Varied Industries. Achanea from New Zealand and Australia is used on the banks and accords most harmoniously with the albizzia lophantha. The abelia rupestris is the red leafed plant with pink blossoms. Peonia moutan daikaqura is the peony. Since the small plants in front of the permanent shrubs are changed periodically, a list of everything planted is of course out of the question. The technical names are suggested with a few of the trees and shrubs so that you can continue this line of work for yourself. Since the botanical names are placed on the plants in many places you can easily find what you seek. The Palace of Manufactures and also The Palace of Liberal Arts The portal is Spanish Renaissance with grill work. Notice the pastel pink, turquoise blue and burnt orange on this portal. This coloring is a means of strongly accenting this fine architectural feature. The panel (representing the making of glass, metal work, textiles, statuary, etc.), as well as the female figure holding the spindle and the male with the sledge-hammer, are by Mahonri Young of Salt Lake City, Utah. The wall niches show elephants and lions used alternately - a fine oriental touch. The heads are used as fountains. "Acroterium" is the Victory on the gables, many times repeated. It is the work of Frank Edwin Elwell, curator of Ancient Art, at the Metropolitan Museum of New York. Viewing the figure from the side, you are reminded of the Victory of Samothrace. She is noticeably beautiful against the late afternoon sky and also against the blue morning sky. You will notice that the flora is just the same in the main in front of these buildings as it was in front of the others you have seen, the grass lawn here taking the place of the albizzia lophantha. Sweet peas, daffodils, rhododendrons, evening primroses, Japanese magnolias, coronilla are added for color. The Palace of Manufactures shows the coarser, heavier articles, such as furniture, carpets, woolen goods, hardware. Many articles are being made in this palace. The Palace of Liberal Arts includes all kinds of printing, book binding, engraving, photographic apparatus, especially in the line of moving pictures and color photography, theatrical appliances, musical instruments, instruments of precision, wireless telegraphy and the wireless telephone, etc. Palace of Education Architect - W. B. Faville of San Francisco. There are three portals on the south in the Spanish Renaissance style, with twisted columns of the Byzantine school. Notice that the screws twist in opposite directions. Above the central portal is Gustav Gerlach's tympanum relief "Education." The tree of knowledge is seen in the background. The kindergarten stage, the half-grown, and the mature periods are shown, the last showing the man no longer under a teacher, but working his problem out by himself. The modern costumes, combined with the classical styles, suggest that the knowledge of today rests upon that of the old schools. Mr. Gerlach is a pupil of Karl Bitter of New York, the Chief of the Sculpture. Below the tympanum is the open book of knowledge from which light radiates in all directions. The curtains of darkness have been drawn aside. The hour-glass says, "Improve the shining moments as they pass." The crown awaits those who will seek knowledge. Atop this portal is the globe suggesting that education extends around the world. The panel on the left shows the female teacher in the center. She is instructing her hearers who discuss their interests. This panel is by Peters. The companion panel with the male teacher is by Cesare Stea. Both panels are quite evident in meaning. Messrs. Peters and Stea are pupils of the Beaux Arts of Paris and the National School of Sculpture of America, respectively. The Palace of Education and Social Economy shows developments since 1905. Comparative exhibits of educational interests of all nations are shown. Child welfare, playgrounds, care of the feebleminded, treatment of the insane, missionary work, the Red Cross system, criminology, park systems, street improvements, methods of disposing of sewage, and many other allied subjects are interestingly worked out for public benefit. The flora is just about the same in front of these palaces as that which you have noticed. The veronica buxifolia is grouped around the lawn at the corner of Palm and Administration Avenues. The west side of the Palace of Education as well as that of the Palace of Food Products, has great Roman half domes above the entrances. Again your architecture at the portals is changed to suit the style of the palace opposite. The Fine Arts Palace is mainly old Roman. These are called respectively "The Dome of Philosophy" and "The Dome of "Out of books comes much knowledge," says the woman. "If you wish to be as physically strong as I am, eat my food," says the man. This figure then represents physical vigor. The fountains of the vestibules are by W. B. Faville of San Francisco. That in the vestibule of the Palace of Food Products is strongly reminiscent of the fountain of Perugia. The great Siena pedestals beside these palaces carry Ralph Stackpole's The niches have alternate groups of "Abundance" and "Triumph of the Abundance expresses to you the overflowing amount of all that we have today. Her symbol, the cornucopia, is seen on either side. Her large hands are spread out as if to say: "I give you all that I have. Take. Choose what you will." One certainly has a bountiful choice. The eagle's head is on the prow of the vessel in which she sits. It surely suggests that considering all we have put before us today, we have reason for inspiration (the eagle being the symbol of inspiration). The Triumph of the Fields shows man surrounded by the symbols of the harvest festivals when the Celtic cross, to take one case, or the standard with the bull atop, to take another, was carried through the fields at the time of the bringing in of the harvests. Man has been the guiding hand to the bull, but the bull has really triumphed since it has actually done the work, while man receives the credit. Man has surmounted the bull, as it were. Above is the wheel of the wain of old. The seed in the black earth appears almost to possess intelligence. You get that idea by the head below. Has not the seed produced the bearded barley head you see represented? Does not that power of production appear to be intelligence in the seed? Below the niches are facsimiles of old Roman baths such as one sees in the Lateran Museum, in Rome. (See picture in Bannister Fletcher's History of Architecture, page 170.) Fronting the Esplanade are four great palaces: The Palace of Food Products, which allows you to see how a number of our dry groceries are made; The Palace of Agriculture, dealing with the many interests of the farmer and the orchardist, the fisheries, forestry, reclaimed land, etc.; The Palace of Transportation, which enables one to see the remarkable progress made in automobiles, aerial navigation, ocean liners, overland trains, etc.; The Palace of Mines, which has been spoken of before. These four palaces have the same kind of doorway. The style is the Spanish Plateresque, the same kind of work that was used on the fine portals of the Palace of Varied Industries. The Spanish Cavalier (by Allen Newman) is the type of man who came to The Pirate (by Allen Newman) is the type of man who infested the shores of Spanish-America and preyed upon the commerce. The Palaces are intimately placed for several reasons. From experiences at previous Expositions "tired feet" are strongly to be considered, hence the nearness of the buildings. San Francisco has a few (?) windy and foggy days in the Trade Wind Season, so if the walls are high and near together, the courts on the inside of those walls will be well protected from both winds and fogs. The high walls lift the cool air so that it passes over the buildings of the great block, thus sheltering the courts within. - Now that you have walked around the faÇades of the palaces of this great block system, you can start with your courts. I would strongly suggest that you study all of your buildings of this group first, before entering the courts for close work. - The Aisles Between the Palaces The aisle between the Educational Palace and the Palace of Food Products is called The Aisle of Spring, tho the name will probably not be applied very often, as the aisle is not important. The flora seen here is eucalyptus, acacia, laurestinus with its white bloom, and veronica decussata with its purple flowers. The border is cistus. - The Aisle of the Setting Sun is between the Court of the Universe and the Court of the Four Seasons. The Aisle of the Rising Sun is between the Court of the Universe and the These two aisles are very much alike, the great difference being in the flora used. The style is Italian Renaissance and should not be called Venetian, as many have named it. The walls are covered with a diaper design of ochre, pink and travertine. Blue rondels are used with telling effect. They give a delightful touch of color and have a fine Italian feeling. These rondels have no special meaning, being purely decorative. The coupled columns with different decorations have their prototypes in the columns of the churches of southern Italy. The arched windows have interesting grotesque keystones. Notice that the spirals of the great Siena marble columns turn in opposite directions. Think how they would appear if they all turned the same way! Notice also the beautiful manipulation of color on the Triumphal Arches. The latticed windows are strongly suggestive of Mohammedan work and are a beautiful turquoise green. They are among the many Oriental touches at this splendid Exposition. The area of deep pink and the burnt orange medallions must be seen to realize their beauty. No wonder Pegasus is seen in the spandrels! Who would not mount Pegasus at such a glorious Exposition? In these aisles are many remarkable conifers. Yews from many different countries, junipers of various kinds, pines, firs, spruces, cypresses of countless varieties, many thuyas, beside euonymus, holly, datura, India rubber, aralias, the beautiful nandina domestica, a most lovely foliage massed in the corners of the west side of the Aisle of the Rising Sun. In March and April these courts receive glorious rich coloring from beds of California poppies and anemones, bordered with creeping juniper. The gay spring flowers will be followed by summer annuals, and later by our autumn blossoms, The Court of the Universe This court, which strongly resembles the great area in front of St. Peter's, Rome, with its sweep of colonnade to right and left, was designed by the New York firm of McKim, Meade and White. The architecture is Italian Renaissance and gives you the beautiful spirit of the old-time work. It is a wonderful court in architecture, ornamentation, color, arrangement, and above all in meaning. In order to get the full joy of it you must pursue a regular plan and you cannot hurry. Don't try to do it all in one day. First walk thru the court to the Triumphal Arch on the right. Pass thru it and read the quotation on the right at the top of the arch. - The Cosmical Side of the Court of the Universe "The universe - an infinite sphere. Its center everywhere, its circumference, nowhere." This comes from Pascal, from his PensÉes. This splendid quotation gives you the infinite side of your subject. Now pass back to the Court of the Universe and you will see ninety times repeated against the sky, A. Stirling Calder's very decorative "Jeweled Star." This will suggest the myriad of suns in our great universe (since stars are suns). The nearest star to us, our sun ("The Rising Sun," by A. A. Weinmann of He is seen just before daybreak. This fresh, strong young sun is just bout to start on his journey. Dawn is soon to break upon the world and with muscles stretched, the heavenly joy of the first move expressed upon his face, the wind blowing thru his hair, the vigor of young life pulsating thru his body, he will start the chest forward and move those outstretched wings. Walk toward him and you will see him begin his journey thru space. Now read the quotation an the Triumphal Arch of the Rising Sun: "The moon sinks yonder in the west - By Kalidasa (the Shakespeare of India). The sun at setting is represented by a beautiful woman. The day is just about to close and with muscles relaxed (knees bent, head drooping, arms falling, wings folding) she is soon to sink to slumber, to pass from view. This is what is suggested by calling the figure the Setting Sun. In the Fine Arts Palace, Mr. A. A. Weinmann has called the same figure "Descending Night," and that title is much more consistent and satisfactory, for how are you going to account for the youthful sun's appearing at the end of the day as a woman? Then again the reliefs refer to "Descending Night," for they are called Now raise your eyes to those beautiful cameo figures on the burnt orange ground at the entrance to the colonnades, and you will be carried in thought to the Zodiac, that great imaginary belt thru which the sun and planets travel. There you see the zodiacal figures, two and two, with their symbols, gliding thru space. The clouds or nebulous matter is suggested by the female figures with swirling drapery, toward the end of the frieze. In the center stands Atlas, mythologically the first astronomer. Your fancy has carried you on the wings of the wind at this very suggestion. These fourteen maids are Atlas' fourteen daughters. Go close to the die of the fountain of the Rising Sun and look at the reliefs. The subject is Day Triumphant. The genius of Time with hour-glass is followed by the genius of Light with flaming torch, and Energy sounds on his trumpet the announcement of the break of day. Truth follows with mirror and sword emerging triumphant from the sinister powers of Darkness. Falsehood shrinks from its own image reflected in the mirror of Truth. Vice cowers and struggles in the coils of a serpent. - Walk over to the corresponding die on the fountain of Descending Night. On it are shown the Gentle Powers of the Night. Dusk envelops in her cloak Labor, Love and Peace. Following are Illusions carried upon the wings of Sleep. Then come the You have swept your mind over the cosmical side of the Court of the Universe on objects at a great distance. Come closer now to view the elements. These colossal figures of Earth, Air, Water, Fire assume a certain majesty in this Court of the Universe. They are in horizontal composition and add greatly to the decorative, side of this inspiring court. Earth - The sleeping Earth which yields to man wood (from the great trees whose roots ramify below the surface of the ground), stone and minerals - (man wrests thru great muscular strength these substances from the earth). Air - That holds to her ear the star. She is listening to the music of the spheres. On her back are wings which man has fastened so that he can overcome her - a fine suggestion to aerial navigation. The bird, the symbol of the air, is twice repeated. Fire - His very expression of face shows you the terrorizing effect of fire. He holds his hand in the flame. The lightning plays on his right arm. Across his figure passes the salamander, the fabled reptile of the fire. (See the real salamander in the Japanese concession on the Zone.) Water - The bellowing ocean with mouth agape lies on the tossing waves, thru which sport the dolphins. Ocean, the king of the waters, carries the trident. On his head and in his hands the kelp is seen. The elements are by Robert Aitken of New York, formerly of San - The Human Side of the Court of the Universe All is now ready for man. In the center of the Court of the Universe was to have been Daniel French's Genius of Creation, but if it is not there, we must not lose the great dominant note of this Court, so pass thru the Triumphal Arch of the Orient, thru the beautiful Aisle of the Rising Sun, across the Court of the Ages, out thru the next aisle, to the plaza in front of Machinery Palace in order to follow the story. Here on the boulder sits the great Spirit (not a man you will notice). The hood is drawn far over the face so that a certain idealism is produced - a great spirit with wings and arms raised. Wisdom (the serpent) encircles the throne. The arms of the creating spirit have just been raised, the word has just been spoken and splendid manhood ready to meet the world, with modest, helpful woman, just come forth. The hands touch at the back of the group, causing you to feel that man and woman are mutually dependent. Return to the Court of the Universe. Now, look up at the Triumphal arches and notice Leo Lentelli's Angel of "Let there be peace throughout the world. Turn down the sword," it says. - A night of illumination should follow your work and you can then read under the searchlights the words on the right upper corner of the Oriental Gateway - "Our eyes and hearts uplifted (From Hitomaro, the Japanese poet of the 8th century, A. D.) - Your scene is shifted for a short time. You have passed into the Court of the Ages for a retrospect (upon the human side). The primitive people are to be seen here on the Fountain of the Psychology of Life. Don't try to see everything in detail now, for you can come back later. Just realize this, that the small group facing west in the fountain is This early period shows man working strongly under the power of impulse. Vanity, lust and greed seem to dominate his actions. On these primitive people pass thru life. You can see them if you look up on the Tower. On they march, in that upward climb of civilization. Marching along with primitive man, thru long periods of time, you next meet him developed as the Crusader of the Mediaeval period. He has mounted thru war and his religion and stands at the feet of the Priestess of Religion, the last group at the upper part of the Tower. On either side you will notice a man and a woman standing on the bodies of primitive beings. These figures represent the man and the woman of today - the man and the woman who have sprung from this primitive stock. Don't stop in this beautiful Court of the Ages, for we shall return later to finish our story. You have gotten connection enough now to allow you to return to the Take a seat in the sunken garden and look up at the figures on the Triumphal Arch of the Rising Sun. The Orientals are represented by many types. From left to right are seen: 1. The Arab sheik on his Arabian steed. 2. The Negro servitor with fruits on head. 3. The Egyptian on his camel, carrying a Mohammedan standard. 4. The Arab falconer with bird on wrist. 5. The splendid Indian prince on the back of the elephant. 6. Inside the howdah the Spirit of the East. 7. The lama from Thibet with his rod of authority. 8. The Mohammedan with his crescent standard. 9. Again a negro servitor. 10. The Mongolian on his horse. On they come, these Orientals, to take part in the great celebration. Next look up at your Occidentals on the Arch of the Setting Sun. From left to right you see: 1. The French Canadian - the trapper. 2. The Alaskan with her totem poles on her back. 3. The Latin-American on horseback. 4. The German. 5. The Italian. 6. The Anglo-American. 7. The Squaw with her papoose basket. 8. The American Indian on his horse. In the center is the old Prairie Schooner drawn by the great oxen. Atop, pushing out, is Enterprise leading these men westward, on either side a white boy and a colored boy, The Heroes of Tomorrow. In front marches that stalwart Mother of Tomorrow. It has taken all these Occidentals to produce the work that is coming in the future - the achievements due to the completion of the Panama Canal - therefore, they conjointly express "The Mother of Tomorrow." - These nations are now marching into the Court of the Universe and are to meet in front of the Tower of Jewels, the symbol of the Panama Canal. Read now on the Occidental Gateway the magnificent lines by Walt "Facing west from California's shores, Mr. Porter Garnett's excellent explanation you may be glad to read: "In these transcendent lines we have the poet speaking as the personification and representative of the Aryan race, the race, which, having its origin in the plains of Kashmir, has by virtue of the spirit of conquest, the desire to be seeking what is yet unfound, finally reached the western edge of the American Continent, whence it 'faces west from California's shores' and looks toward the House of Maternity, the Land of Migrations from which it originally sprang." "It seems hardly possible to conceive of an inscription that embodies such a tremendous thought, and is, at the same time, so appropriate to the purpose for which it is suggested. It comes, moreover, from the poet who above all others represents the spirit of the American people and the ideals of democracy." You now feel the import of the Occidentals who, with that Aryan spirit, - Next read the far-seeing words of Goethe in his letters to Eckermann (on the west side of The Arch of the Setting Sun): "It is absolutely indispensable for the United States to effect a passage from the Mexican Gulf to the Pacific Ocean, and I am certain that they will do it. Would that I could live to see it, but I shall not." - The Historical Side of the Court of the Universe Begin with Mr. Edward Simmon's murals on either side of the Gateway of the Rising Sun. Facing east, the mural on the right represents The Nations That Have Crossed the Atlantic (Greece, Italy, Spain, England, France, etc.) and the special types are these: 1. The savage of the lost Atlantis. 2. The Graeco-Roman sharpening his blade. 3. Columbus, the type of adventurer. 4. Sir Walter Raleigh, the type of colonist. 5. The priest, representing the Jesuit missionaries. 6. The artist. 7. The workman. 8. The (veiled) Future listening to the Past. The people of the old world, with all their traditions, cross the Atlantic, led by the "Spirit of Adventure" (with his bugle calling them to come). The mural on the opposite side shows the aspirations, etc., of the group just examined. Reading from left to right we find the men had hopes (and some false hopes - but bubbles), commerce, inspiration, truth, religion, wealth and family in their minds. Cross to the Gateway of the Setting Sun looking at the mural on the right as you face west. Time has moved on since those early colonists came to the Atlantic shores and now the Spirit of Abundance (with her overflowing golden cornucopia) is sounding the call for all to follow. Many leave their homes to join the great throng that is moving westward. The wagon is laden with the necessaries of life for the new home in the western country. You see the feather bed, the old grandfather's clock that stood on the stairs, the scythe, the pitchfork and the rake for their agricultural interests, etc. On the right the young man who has said goodbye to his wife now turns to his aged parents. The mother, overcome with grief at parting, stands speechless, and the grey-haired father shakes his boy's hands and wishes him "Godspeed." All types of men are taking the journey and you are reminded that not alone workmen and adventurers are leading the procession, but ministers, women with their refining influence, children with their school books, and college men with gown and mortar-board, with books under arms - all moving on the long journey westward. Occupying the same position on the southern side of the arch the companion-piece, by Frank Vincent Du Mond, shows these men from the Atlantic arriving at the shores of the Pacific. The people of the west with outstretched arms welcome the travelers. The children of the Pacific shores run with flowers and fruits to greet them. You will notice the different types arriving from the Atlantic shore - literary men (with pen and book), architects (with temple in hand), scientists (with book under arm), Franciscan friars (with crucifix and mission bells in hand), etc. These are followed by the Red Coats, indicating those who preserved order. These men are all led by the Spirit of Adventure. She is no longer in the foreground, but is ready to fall behind as soon as she has fulfilled her mission. The agricultural interests of the western countries are suggested by the wheat and implements of the field. The heavily laden orange trees speak of the fruit industries. Does the tapir stand for South America? Surely, South America is coming into the foreground just now. The people have now been brought to the shores of the Pacific. - The Panama region is the one next to be visited and you rehearse its story, standing under the Tower of Jewels, "The Panama Canal." These are the murals of Frank DeLeftwich Dodge: 1. The Panama Isthmus is discovered. 2. It is purchased by the United States. 3. You are reminded that the great waters - the Atlantic and the Pacific - play with titanic force on either side of the isthmus. 4. The Panama Canal is completed. 5. Labor is crowned. 6. The achievements which follow are shown: (The caduceus, the wand of Mercury, the symbol of commerce, is prominent.) - Pass thru this Tower of jewels noticing in the eastern and also the western arcades two fine fountains. On the left is the Fountain of Youth by Mrs. Edith Woodman Burroughs of The simple, beautiful, naive figure standing on the pedestal is Youth, the United States, the child that has come from old parents (Europe). The old father and mother have had many children - many little primroses you will notice - but none more dear than this one. The charming panels will remind you that the old people of today are being rowed by the young. These children row the vessels, bring them to shore and fasten them to their moorings. Many of the old people are deaf or blind and are straining to follow the young who, with willing hands are guiding them on. A most charming, lovely work is this, and adds a fine touch to the open book that we are reading. Don't lose the eagle and laurel wreath back of Youth. They are significant. Oh the other side is the fine formal fountain of "El Dorado," by The fountain of El Dorado brings to mind the old Indian legend of El There was once among the South American tribes a belief that in a certain far-off country lived a king called El Dorado, the Gilded One. He ruled over a region where gold and precious stones were found in abundance. The story influenced a vast number of adventurers who led expeditions to seek the land of golden treasure, but, notwithstanding the fact that they searched most carefully and for long periods, they all failed to find it. The idea of the unattainable gave the suggestion to Mrs. Whitney for her fountain. The gold of El Dorado was used as the symbol of all material advantages which we so strongly desire - wealth, power, fame, etc. In the panels are seen the men and women of life in their mad race for the unattainable. Many have had a glimpse of El Dorado, the Gilded One, and are rushing on to pass the mysterious gate behind which the desires of life await them. Some faint by the roadside or stop in their race for the goal to contend or to loiter by the way, but those nearest the El Dorado increase their speed - rush madly on. Beside the gateway that has only just allowed the fabled El Dorado, the Gilded One, to pass through are two mortals who have come close to the land of their desires, but only to find the door shut and slaves beside it barring the way. Their strength is expended, their courage gone in the long race for material things. The panels of this fountain tell us in satirical language something we can profitably think over and realize if we will. - The Ethical Side of the Court of the Universe After man has created the great "Isthmian Way," it is well to think on his fine ethical standards. Read on the triumphal arches these quotations on truth, honor, justice, wisdom: (Spain) "Truth, witness of the past, counsellor of the present, guide of the future." (Cervantes in Don Quixote.) East side of Arch of the Setting Sun. (China) "They who know the truth are not equal to those who love it." (Confucius from the Confucian Analects translated by James Legge.) West side of the Arch of the Rising Sun. (Arabia) "He that honors not himself lacks honor where soe'er he goes." (From the (Italy) "The world is in its most excellent state when justice is supreme." (Siam) "A wise man teaches, be not angry; from untrodden ways turn aside." (From the sayings of Phra Ruang, Prince Ram Khamheng of Sukhothai.) East side of the Arch of the Rising Sun. - Coming into this great Court of the Universe one hopes that truth, honor, justice and wisdom will be maintained. - The Floral Side of the Court of the Universe This court will show a succession of beautiful bloom throughout the year. The daffodils will have their golden season, the rhododendrons their brilliant sheet of color, and in May the columns will support our various climbing roses, exhaling their perfume for all who come to this Land of Flowers. Summer flowering annuals will follow and later the autumnal flowers. Read the quotation on the aisle side of the Arch of the Rising Sun: "The balmy air diffuses health and fragrance, - Firdausi. (Annals of Kai-Kaus, in James Atkinson's translation of Shah Nameh.) So, while thinking of a Persian garden in the quotation, we feel the applicability of these words to the California gardens. - The Festival Side of the Court of the Universe There is still another side to realize in this meaningful court. The exposition is a great festival, a triumphal festival, and you meet the suggestions of it all around you. This great court is entered on three sides by Triumphal Arches. The Triumphal Arch of the Occident, The prototype of the triumphal arch is seen in many places, most satisfactorily today in Rome. The Arch of Constantine is the best model for us to examine, for it has three openings - even if the shape of the side opening is not the same as that of the arches before us. The great court is hung with festoons (on the frieze) and decorated with the vine and its grapes (on the architrave). The bulls' heads with festoons are represented on the frieze as they once were on the altars of old when the festival, "The Feast of the Sacrifice," was celebrated. (Refer to the same subject in The Court of the Four Seasons.) |
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