  Title: The Architecture and Landscape Gardening of the Exposition A Pictorial Survey of the Most Beautiful Achitectural Compositions of the Panama-Pacific International Exposition Author: Louis Christian Mullgardt Language: English Produced by David A. Schwan The Architecture and Landscape Gardening of the Exposition A Pictorial Survey of the Most Beautiful of the Architectural With an Introduction by Louis Christian Mullgardt 1915 San Francisco The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged To the spirit of Community Loyalty by which greatest results are accomplished. To generous Collective Energy which unites the world's people in universal kindliness. To the wholesome people of our San Francisco, whose united efforts unconsciously disproved the impossible, this book is affectionately dedicated. L. C. M.Reflection International Expositions are independent kingdoms in their corporate relation with other countries of the world. They are phantom kingdoms wherein the people do everything but sleep. They germinate and grow with phenomenal energy. Their existence is established without conquest and their magic growth is similar to the mushroom and the moonflower; they vanish like setting suns in their own radiance. Thousands of neophytes of every race, creed and color come with willing hearts and hands to do homage and bear manna to nourish the sinews of a phantom kingdom. The National Constitution of phantom kingdoms commands that the Spirit of beauty, refinement, education, culture and frolic shall govern. The result is that they contain many palaces and shrines decorated with sculpture and painting and that the earth is studded with fountains and pools within tropical gardens. Such a Kingdom exists within a wonderful valley bordering on a great sea. It is surrounded by high velvet hills of fine contour and by many real cities. As the people look down on this phantom kingdom from the hill-tops, or from ships sailing on the water, they see Architecture nestling like flamingoes with fine feathers unfurled within a green setting. If building Phantom Kingdoms symbolizes man's highest aims on earth, then the same is true when building Real Kingdoms. Architecture and the sister arts are the most reliable barometers in recording human thought. They are direct exponents of a universal language wherein national progress is most clearly read. People who build Phantom Kingdoms look hopefully for universal approval by all mankind. L.C.M.Contents Reflection. Louis Christian Mullgardt Illustrations The Rotunda of the Palace of Fine Arts—A View by Night. Hilda Van The Architecture and Landscape Gardening of the Exposition The Architecture & Landscape Gardening When San Francisco was destroyed by fire in 1906, many people predicted that the city would never be rebuilt. A great number of men and women packed their goods and chattels and hastily bade farewell to the still smoking ruins of a City That Was, firmly believing that destiny had determined that it should remain forever buried in its own ashes. There was another class of men and women who were optimists. They predicted that the city would be rebuilt, but that it would require from twenty to thirty years. There was still another class of men and women who knew by observation that it required no more time to build ten buildings than one, provided the Spirit of Energy and Determination existed, to fortify the desire. We all know now that the Spirit of Energy and Determination did abound in San Francisco—that the City did not remain buried in its own ashes, and that it did not require from twenty to thirty years to rebuild it. The City was not only rebuilt in less than ten years, but, in addition thereto, an International Exposition, surpassing all previous Expositions, was built by its people. San Francisco wisely selected for the location of this International Exposition what seemed to many to be an impossible site, for it was disorderly and uninteresting to look at. But the site was appropriately situated on the shores of San Francisco Bay—beautiful in its surroundings and most convenient alike to its citizens and visitors. It consisted of a pond and a strip of waste land and marsh land, apparently destined to remain unfilled and unorderly for years to come. The People of Energy, Determination and Desire have also made this strip of waste land permanently available. The arrangement of this Exposition is distinctive because of its Court Plan. Eight Palaces seemingly constitute a single structure, containing five distinct courts or places for large public gatherings, which are open to the sky. This colossal group of buildings, consisting of the Palaces of Education, Food Products, Agriculture, Liberal Arts, Manufactures, Transportation, Mines, and Varied Industries, is terminated east and west by Machinery Hall and the Palace of Fine Arts. To the south of this group, and on the lateral axis of the two end courts, are the Palace of Horticulture and Festival Hall. This group of eight buildings, with its Tower of Jewels, and the separate buildings, Festival Hall, the Palace of Horticulture, the Palace of Fine Arts and Machinery Hall, constitute the main structures. The buildings and gardens of Foreign Countries and of the States of the Union adjoin, at their western termination, the thirteen main structures erected by the Exposition Company. Still further west, are the Livestock Barns and Poultry Houses. The Aviation, Military and Polo Fields, including the Race Course, occupy the extreme end of the site. The amusement section, "The Zone," extends for a distance of seven city blocks eastward from the main group. President C. C. Moore of the Exposition first appointed an Advisory Three important elements in the design of an Exposition are represented by Planting, Sculpture, Color and Decoration. The Chiefs of these Departments were selected by the Architectural Commission at its second conference, August, 1912; John McLaren, of San Francisco, was appointed to the important position of Landscape Engineer; Karl Bitter and A. Stirling Calder of New York were appointed chief and assistant chief of the Department of Sculpture; Jules Guerin, of New York, became chief of the Department of Color and Decoration. The Chiefs of these departments attended the architects' conferences and collaborated in their deliberations. Another very important element in the design of this Exposition was represented by the Department of Travertine Texture, for the proper manipulation of colored plastic materials to give correct surface expression to all buildings and sculpture. This department was placed under the direction of Paul E. Denivelle of New York. The element of Texture as embodied in the construction of this Exposition, has again emphasized its general importance in plastic architecture. The Marina The north side of the main group is flanked by a greensward, called the Marina, which skirts the bay. This enormous green carpet is bordered by walks and roadways. The Marina affords excellent opportunity for thousands of people to view special attractions offered daily along the waterfront. War vessels and pleasure crafts are always just beyond the low Marina wall. An uninterrupted view of the bay and its northern coast line of hills and mountains, extending from the Golden Gate, west to east, as far as eye can reach, is here obtained under most favorable conditions. No one will ever forget the wonderful panorama which this Exposition faces. The South Gardens Flanking the south side of the main group is the marvelous Avenue of Palms, which appears to have existed always. It was established A. D. 1914, by John McLaren, Landscape Engineer, as part of the most colossal system of successful transplanting ever undertaken in the history of the world. The South Gardens adjoin the Avenue of Palms and extend to the Exposition enclosure along the south boundary line, where a wall fifty feet high and ten feet wide has been erected of a solid green moss-like growth, studded with myriads of tiny pink star-like blossoms. This great wall is perforated by simple arched masonry entrances, leading rough the richly planted foreground formed by the South Gardens. Basins of reflecting blue waters extend to the right and left of a central fountain of colossal proportions. The basins themselves are punctuated at their east and west ends by fountains of subordinate size, back of which are Festival Hall to the right and the Palace of Horticulture to the left, as we enter the green wall portals from the city of San Francisco beyond. To the south and west of the Foreign Countries, States Buildings and Gardens, a graceful contour of hills extends, sloping onward to Golden Gate, and having a coxcomb of pine and eucalyptus. Broad vistas of city, forests, water, hills and mountains present themselves at every point. Gray, green, blue and lavender vistas come into view through portal, colonnade, and arch. The Palace of Fine Arts This impressive unit faces the rising sun with its colorful facade. The plan of this composite structure suggests the Star and Crescent of Mohammed. The architecture shows a free interpretation of early Roman forms. It is, in fact, a purely romantic conception by Architect Maybeck, entirely free from traditional worship or obedience to scholastic precedent. Its greatest charm has been established through successful composition; the architectural elements have been arranged into a colossal theme of exceptional harmony, into which the interwoven planting and the mirror lake have been incorporated in a masterly way. The entire composition bespeaks the mind of a romanticist, whose productions are swayed more by nature's glories than by scholastic tradition. The Palace of Horticulture The appearance of this building so clearly expresses its purpose that a definition of style promptly suggests the title of Horticultural Architecture. Its decorative spire-like finials resemble the cypress and poplar. The clusters of floral ornaments and festoons reflect one of the fundamental purposes of decorative glory to which all plant life has been decreed. The bulblike glass dome is like an enormous dewdrop of beautiful proportions and iridescent color. All this beauty was conceived by Architects Bakewell and Brown, who have given full evidence of their appreciation of the purposes to which this Palace was assigned. Festival Hall This structure counterbalances the Palace of Horticulture at the east end of the South Gardens. Mr. Farquhar's interpretation of Italian Renaissance in this interesting building is replete with charming detail; it is truly expressive of its festival purposes. It is seen to best advantage when reflected in the South Garden Pool, from the circle surrounding the Fountain of Energy, and from the Court of Flowers. The Palace of Machinery This colossal structure of Roman type was designed by Architects Ward and Blohme. It dignifies the east end of the main composition in a most impressive manner. Its general character is similar to the Roman baths of Caracalla. The vestibules are particularly impressive, when viewed longitudinally. The interior Roman vaulting, formed by myriad trusses, is similarly impressive in form and scale to the interiors of renowned existing Basilicas. The surrounding tree, shrub and flower planting along the simple outer walls is rhythmically consistent with the Roman niches and entrances and lends added charm to the dignity of this tremendous structure. The cornices are especially noteworthy in their detail, scale and proportion. Outer Walls of the Group of Eight Palaces The impressive simplicity of the outer walls is enhanced by a succession and variety of portals, niches and arcades of Spanish and Italian origin of great beauty. The simple dignity of the plain travertine wall surfaces is heightened by tile-covered cornices terminated by pavilions. A rich foreground of rhythmic planting of trees, shrubbery and flowers, emphasizes the unity of the eight palaces, the corporate purposes of which have been so successfully interpreted by Architects Bliss and Faville. The typical domes surmounting the eight palaces also express the similarity of purpose for which these palaces are intended. In depicting the industrial arts, these domes lend an Oriental expression to the entire composition, consistent with the citadel character of the general scheme. The banner poles, with their Oriental streamers, and the illuminating standards, set in the foreground planting of the outer walls, lend a consistent festive character to these long facades. The Tower of Jewels The appellation "of jewels" became an addition to the original title, after the Tower was thus gorgeously arrayed. The Tower was contemplated in conjunction with the main group of palaces, as a clue to the composition, and as of vital importance to the general plan. Its composite architecture can best be defined as of White and Yellow Race derivation. It clearly indicates a mingling of the architectural characteristics of the people of the entire world, as the architects, Carrere and Hastings, probably intended. It gives definite expression to the international purposes for which this Exposition is designed. The jewel enrichments add effectively to its Oriental regal display. The Tower constitutes an indispensable integral in the unit composition. It appears to best advantage under the mysterious effects produced by Mr. Ryan's night illumination. The Court of the Four Seasons This dignified, restful court of Roman classic character, designed by Architect Henry Bacon, expresses the Season theme perfectly. The alcoves, which symbolize the Four Seasons, are admirably conceived in their relation to the entire composition. The arched side approaches of the colonnades and the colossal Roman niche at the south end together form a glorious composition which has been greatly enhanced by the arrangement of planting by Mr. Bacon. The Court of the Universe This colossal court of oval form, including the Avenue stretching to the Marina, is fundamentally Roman in architectural character, the style being largely attributable to its splendid Colonnade and Triumphal Arches. Its architectural style is also sympathetic to the Orient of the Far East along the Mediterranean, owing to its domed pavilions. The oval Sunken Garden is thickly planted with Hydrangeas, which constitute one of the most gorgeous displays at the Exposition. The Tower of Jewels and the Column of Progress at the North and South ends of this wonderful Court serve as integrals. McKim, Mead and White are the architects of this most important of all the Courts. The Courts of Flowers and Palms These two delightful courts, designed by Architect George W. Kelham, are like great alcoves in the south wall of the main group. The Court of Flowers faces Festival Hall, whereas the Court of Palms faces the Palace of Horticulture. Each court is flanked at its outer angles by towers, which form an indispensable element in the south facade and in the courts themselves. The general style is Italian Renaissance, suggestive, in the detail of its decoration and planting, of the symbolic intent of these courts. They are an important factor in the south facade of the main group. The Court of Ages This court is designed as an historical expression of the world's growth from infancy. It consists of a continuous arcade and vaulted ambulatory along four sides, and an altar-tower on its northern axis. The decorative motives employed on the surrounding arcade are of conventionalized forms of prehistoric plant and animal life, expressive of evolution. The altar-tower and fountain symbolize the human and animal passions of the theme. The Gothic type of architecture of this court has not been accredited to any preceding period. Its general character supposedly resembles Spanish or Portuguese Gothic more closely than any other known style. The Court, including its avenue extending to the Marina, was designed and modeled by the writer of this article, Louis Christian Mullgardt. Over six hundred acres are comprised in the elongated site on which the Exposition stands. Millions of people from all parts of the world have made pilgrimage to this realm of phantasy, and many thousands more are on their way, determined to bask in the radiance of Good Will toward All Mankind, which this Mecca of Peace, Enlightenment, Beauty, and Inspiration for a better and greater future gives forth. Its purposeful influence is destined to serve perpetually beneficent cause in the furtherance of unified international humanitarianism after the ephemeral vision of this Phantom Kingdom has vanished. L. C. Mullgardt. Illustrations and Descriptive Notes of the Architecture and Landscape Panorama From the vantage point of Presidio Heights, one may see this panorama of the Exposition and catch the symmetry of arrangement in the walls of the palaces, in the graceful lines of the towers and in the impressive contour of the domes. The effect is largely due to the ground plan, distinguished for its balance and poise, which was designed by Mr. Willis Polk and Mr. Edward Bennett. The main palaces, eight in number, are built around three courts, producing an admirable compactness and unity. To the west of this central block of buildings, is the Palace of Fine Arts, and to the east, Machinery Hall. The Palace of Horticulture and Festival Hall are located in the great South Gardens. The Zone lies in the extreme eastern wing of the grounds, and the corresponding section to the west is devoted to the Pavilions of the Foreign Nations and of the States of the Union. Tower of Jewels The Tower of Jewels, designed by Carrere and Hastings of New York City, is the centralizing and dominating feature of the Exposition. In its colossal dimensions and in the imposing dignity of its position and conception, it seeks to embody, in one triumphal memorial, the importance to the entire world of the opening of the Panama Canal; while in architecture, sculpture, mural painting, decorative ornament and inscribed tablet, it celebrates, in varying form, the glory of achievement. Classic influences inspired the great, central Roman arch, with its massive colonnades on either side and the Corinthian and Doric columns, repeated on successive tiers to the globe, upborne by four giant Atlases, which crowns the apex; but the spirit of conquest and discovery, which vitalizes the sculptured figures and mural paintings, is modern in its expression and in its historical fidelity. The Tower takes its name from the thousands of many-colored jewels so cut, polished and suspended that they reflect the sunshine with dazzling brilliancy by day and at night, under the white radiance of the searchlights, clothe the whole structure with shimmering splendor. Fountain of Energy It was a great undertaking to transform the waste acres of marsh and mudflats into a garden which would be an appropriate setting for the Exposition palaces. Its success was due to Mr. John McLaren, whose reputation as a landscape gardener had long ago been established by his work at Golden Gate Park. Passing through the Scott Street Entrance, one sees first the South Gardens, the really spectacular feature of which is the Fountain of Energy, designed by A. Stirling Calder. Flanking this main fountain are the two smaller fountains crowned by the graceful mermaids designed by Arthur Putnam. With their lovely pools and the splendor of gushing waters, these three serve as the motif for the formal plotting of the South Gardens. Monterey pines and cypress, with acacia and a variety of flowering shrubs, are grouped with fine effect. Balustrades, ornamented with plant-filled urns, set off the great beds in which flora from widely separated parts of the world have been used. The successive plantings of flowers keep the gardens in continuous bloom—daffodils, tulips, pansies, begonias, dahlias, each in their turn. Festival Hall At the eastern end of the South Gardens, south of the Avenue of Palms and directly opposite the Court of Flowers which breaks the facade of the main group of buildings between the Palaces of Varied Industries and of Manufactures, stands Festival Hall, designed to furnish a center for the Exposition conventions and musical festivals. From its character, the building takes not only its name, but its architectural and decorative treatment. It was designed by Robert Farquhar of Los Angeles. The building, in its charm of line and the dignity and grace of its proportions, reflects the best mood of the French Renaissance. The great dome, with the smaller corner domes, suggests the Theatre des Beaux Arts in Paris. The graceful curve of the main portal, the Ionic columns, the decorative corridors and the fine entrances are harmoniously and effectively developed. All the sculpture, which is the work of Sherry E. Fry of Iowa, is classic in conception and happily sympathetic in its suggestion of festivity or in its lyric quality. The floral scheme, in its, lavish massing of bloom and rich color, enhances the attractiveness of the building. Festival Hall The rounding sweep of portico and pillar reveals the architectural style of Festival Hall. In the sculpture and decorative friezes, an effect of airiness has been achieved. Through the graceful arches, formed by Ionic columns, one notes the impressive windows, showing the French influence. The cupola, topped by the slender figure of the "Torch-Bearer," gives an inviting charm to the side entrance, considered ornate but in accord with the architectural design of the Palace. The site of Festival Hall is somewhat raised and the slopes that lead down to the Avenue of Palms are in terraces of velvety lawn, broken by wide flights of steps. On either side of the main stairway are two sculptural groups, the "Flower Girl," before which, on one side, is placed an enticing "Pan" and on the other, a shy, girlish figure partially concealed in the shrubbery. Festival Hall The skillful use of pools in which is secured the charming reflection of palaces and architectural structures, with the softening accompaniment of trees and shrubbery, is one of the pleasant features of the Exposition. There is enchantment in a foggy day, for one sees as in a dream, lovely vistas of courts, glimpses through consecutive arches, and always the charm of mirroring pools and lagoons, where, should there be no wind, the reflected image makes as perfect a picture as the mist-enshrouded original. Palace of Horticulture The huge dome, constructed almost entirely of glass, upon a framework of steel, is the prominent feature of the Palace of Horticulture. It is French Renaissance, influenced by Byzantine, and its proportions (it is one hundred and fifty-two feet in diameter and one hundred and eighty-two feet high) are almost perfect. The spires and porticos, the colonnades and entrances are replete with rococo decorations. There are garlands of girls used in the friezes at the base of the minarets, caryatides repeated in the vestibules, and everywhere a wealth of ornamentation suggestive of a bountiful harvest. The brilliancy of design is heightened by the color scheme of green and ivory used upon the lattice work and travertine material. Messrs. Bakewell and Brown of San Francisco are the architects. Palace of Horticulture At night, when the powerful searchlights within the dome are played upon the translucent glass, the effect is magical, the reflections weirdly changing in color and shape. The rich details of the decorations are softened in the night light. The slender shafts of the obelisks accentuate the vast proportions of the dome. Even the rare color combinations, which add so much to the appearance of the Palace of Horticulture by day, are scarcely dimmed beneath the artificial lighting. Minarets and sculptured friezes and the floral designs so abundantly used in the decoration are seen in fairy-like grace. Of this beautiful building Mr. Edwin Markham has written: "I looked at the dome of the Palace of Horticulture and saw strange colors at play within its dark green depths. Circles and clefts of blue and red and green shifted, faded and returned like hues within a fiery and living opal. It was the workshop of a maker of moons, who cast his globes aloft in trial flights." Palace of Horticulture The caryatides, which are placed in pairs along the corridors of the Palace of Horticulture, were designed by John Bateman of New York. The balustrades, together with the ornamentations of garlands of fruits and flowers, convey the joyous note of a carnival. The ceiling of the porches is studded with domes, grilled with green latticework. From the center of these airy skylights are suspended lamps which, by night, convert the corridors into brilliantly lighted promenades. Horticultural Gardens The Horticultural Gardens, lying south and west of the Palace of Horticulture, are, in reality, exhibit gardens, where much of the display belonging to the Palace itself is placed. While the decorative quality is here less emphasized than the more educational and technical phases of horticulture, the gardens are at all times lovely with a luxuriance of bloom and with the effective massing of trees and shrubs. The display covers an area of eight acres, and experienced gardeners have united to develop the flora exhibited to a high degree of perfection. The Netherlands Gardens, the Rose Garden, with its International Rose Contest, the California Garden and others have contributed a perpetual rotation of flowering plants and shrubs in great variety and with a profusion of brilliant color. In the Forestry Court adjoining, Bernard Maybeck, the architect of the Palace of Fine Arts, has built a lumbermen's lodge of massive, rough-barked, redwood logs, but of the same charm of design and harmonious beauty of proportion which characterize his greater work. Avenue of Palms Looking down the Avenue of Palms from Administration Avenue, a delightful picture is presented. Double rows of palms border either side of the Avenue, with ferns, and blossoming nasturtiums and geraniums planted directly in the interstices of the roughened trunks. The walls of the palaces are embowered in eucalyptus, acacia and cypress trees. Add to this the effect of gaily decorated flagpoles, with pennants and banners afloat in the breeze, and the half-mile boulevard is exhilarating to behold. Many of the shrubs and trees are common to all the palaces, but each building has been allotted a different collection of flowers and foliage-plants to add a distinctive color tone to the facade. When one examines the general sweep of the palace walls facing the Avenue, certain architectural units are noticed. Centering each building is a low dome of Byzantine design, with green roof and warm pink sides. On the corners smaller domes break the monotony of straight lines. The Tower of Jewels and the four Italian Towers complete the inspiring "walled-city" effect. Palace of Education The Palace of Education forms the southwest unit of the main group of buildings and fronts on the Avenue of Palms and Administration Avenue. To W. B. Faville of San Francisco was entrusted the entire exterior wall which unites in one immense rectangle the eight palaces of the main group. A plain cornice, edged with tiles, binds the upper rim throughout. With great simplicity and restraint, the wall spaces are kept bare of ornament, depending for relief on carefully spaced portals, niches and wall fountains. The south facade of the Palace of Education is broken by three beautiful doorways, of which the central is the largest and most richly decorated. The distinctive feature of the main portal is the tympanum in relief by Gustav Gerlach of New York, which pictures the various stages of education from the mother in the home, through the adolescent period, to maturity, when the student is self-taught. Below is the book of knowledge, the curtains of darkness drawn back that the light may radiate from its open pages. Above the portal's curve is a globe, typifying the world-wide scope of the exhibit within. Palace of Education The main portal of the Palace of Education is flanked on either side by a smaller entrance partaking of the same beauty of design, along slightly simpler lines, so that, while preserving a distinct individuality, these minor entrances enhance and enrich the main doorway and the three form a unit in their decorative treatment. The style is Spanish Renaissance, inspired by ancient models, and modified by Byzantine influences. All three show the twisted Byzantine column, those of the main entrance being more ornate. The flat, sculptured panels in relief above the smaller portals, by Charles Peters and Cesare Stea, respectively, both deal with educational subjects. The classic vases on either side of the entrances add grace and dignity, while the latticed doorways, used throughout the Exposition architecture, here effectively emphasize the Moorish note. The planting of trees and shrubs is nowhere happier than about these doorways, with the rose and mauve and smoke tones of the fresh eucalyptus growth against the ivory-tinted wall and the profusion of flowers and shrubs massed below. Court of Palms Of the five chief courts of the main architectural ensemble, the two minor courts, the Court of Palms and the Court of Flowers, while lacking the more imposing size, dignity and symbolism of the three interior courts, largely compensate by their sense of intimacy, warmth and quiet charm. With their sheltered location and sunny atmosphere, due to southern exposure, and with the enchantment of architecture, sculpture, painting, color and landscape effects with which they are richly endowed, they are not only joyous and satisfying, but restful in an unusual combination and degree. Both courts were designed by George W. Kelham of San Francisco. The Court of Palms lies between the Palace of Education and the Palace of Liberal Arts; enclosed on the third or north side by the Court of the Four Seasons, it is open on its southern exposure to the Avenue of Palms and the Palace of Horticulture which lies directly opposite. It is a long oval in shape, its proportions well balanced, and its effect of dignity and quiet accented by the two sunken pools and the effective planting of palms from which the court takes its name. Court of Palms In architecture, the Court of Palms is Italian Renaissance. The entire length of its oval is encircled by a colonnade, pierced by three deep portals which are identical in treatment and which are especially fine examples of the Roman arch. Their dignity is enhanced by the Italian cypresses which flank them on either side. The portals open respectively into the Palace of Education on the west, the Palace of Liberal Arts on the east and the Court of the Four Seasons on the north. The colonnade is bordered by massive Ionic columns of smoked ivory, which in the entrances deepen into Sienna marble. The plain cornice which characterizes the outer walls of the exhibit palaces here takes on a richer ornamentation to conform to the ornate treatment of the Court, while it retains the parapet of red Spanish tiles above. Between the cornice and the columns is a wide and richly decorated attic or frieze where much of the detail and color which help to make the charm of the Court are massed. Court of Palms The sympathy between architect, sculptor and colorist is nowhere shown to better advantage than in the richly decorated frieze surrounding the Court of Palms. Panels of veined marble in browns and pinks, deepening through rose tints to red, are bordered by festoons and garlands of fruit and flowers in varied shadings of blue and pink. Separating the panels are caryatides, flushed pink, with long, pointed, folded wings. They were designed by A. Stirling Calder and John Bateman, while the spandrels over the curve of the portals are the work of Albert Weinert, as are also the graceful, classic vases on either side of the entrances, the latter banded in low relief by dancing bacchanalian figures, while grinning satyr heads finish the curved handles. In the arch of the doorways, are three fine mural paintings, harmonizing in subject and coloring with the spirit of the Court—"Fruit and Flowers," by Childe Hassam, on the West, "The Pursuit of Pleasure," by Charles Holloway, on the east and "The Victorious Spirit," by Arthur F. Mathews, on the north. Court of Palms Terminating the colonnade at either side of the entrance to the Court from the Avenue of Palms stand the Italian Towers, distinguished by their grace of line and proportion and their skill in the use of the purest architectural forms of the Renaissance, no less than by the charming manipulation of color and ornament. By their slenderness and by simplicity of treatment they produce an effect of great height. They were inspired by the Geralda Tower of Seville. The deep-toned columns of Sienna marble used in the three Italian Portals also enrich the entrance to the towers. The prevailing pink and blue color tones which dominate the court are delightfully accentuated in the diaper pattern decorating the rectangular wall spaces of the main portion of the towers. The upper design, repeated in each of the four corners, is modeled after the Choragic Monument of Lysicrates in Athens. The winged figure, "The Fairy," lightly and gracefully poised upon the topmost pinnacle, is by Carl Gruppe. Court of Palms The illustration shows the colonnade which encircles the entire oval of the Court. The bordering columns are Roman Ionic in dull smoked ivory. The general wall tone is the same, with panels of soft pink between the pilasters. The vaulted ceiling is blue. The plants between the columns are acacias, clipped to ball form. The swinging lamps are from old Roman models in pink and verde green. Classic figures are modeled in low relief above the arched openings. Looking north through the Court of the Four Seasons, with its long north colonnade, is a superb vista across the wide blue waters of the bay to the sweeping hills beyond. At the entrance to the court stands the only piece of sculpture not identified with the architectural treatment, "The End of the Trail," by James Earl Fraser, one of the strongest statues on the grounds and perhaps the most popular. Court of Palms The careful details of the palaces and courts—the minute finishing of cornice, column, frieze and vault, the loving modeling of sculpture, the artistic planning of vistas, the inspired brushing of murals—are marvelous beyond my telling. It is an outpouring of the arts before the altar of humanity. It is a presage of what men can do when they unite in common service. The Exposition has taken a Titan stride toward this unified action for a common purpose. The artists have bent to one perfect expression, like the strings and brasses of an orchestra. Self was submersed in a composite achievement, not obliterating individuality but leaving it latitude to harmonize with others. The result is not the stenciling of a leader's mannerisms, but a blend of diverse and varied characteristics, an interweaving of sympathies, of spontaneous and ordered impressions. Here is an object lesson in the cooperative idea that will not be lost upon the world—the idea of a transcendent result obtained by a unity of noble efforts, a result that no massing of individual attempts could have achieved. —Edwin Markham Palace of Liberal Arts West of the Tower of Jewels is the Palace of Liberal Arts, balancing in architectural design and embellishment the Palace of Manufactures, which lies directly east of the tower. The niches, entrances and main portals of the two build are identical. Both were designed by W. B. Faville of San Francisco. Like all the buildings of the main group, the decorative treatment is largely massed in the great doorway, which is distinctly Renaissance in architecture, Spanish in general treatment, but Roman in the massive dignity of the square, deeply-arched portal. Its style is adapted from ancient models. The coloring within the arch and in the overlaid ornament around and above it is a warm pink, effectively combined with turquoise blue and orange. The lace fan, of Moorish workmanship, above the doors, is especially beautiful in its delicate coloring and fragile texture and in the touch of lightness that it gives. The pilasters on either side of the entrance are Corinthian. The long frieze above the doorway and the figures in the niches on either side are by Mahonri Young of Salt Lake City. Palace of Liberal Arts Either by day or by night, the Tower of Jewels is the dominating center of the Exposition, epitomizing not only its entire meaning and message, but summarizing in detail its architectural development. In the main it follows the Italian Renaissance, with emphasis upon the Greek and Roman elements, while in the ornament it employs many Byzantine features. The Tower is built in seven stages, rising tier on tier, the base a magnificent Roman arch, with colonnaded courts flanking it on either side. The Corinthian columns of the colonnades are ochre and on each side of the archway, they are of Sienna marble. The sculptured figures by John Flanagan, crowning the columns above the arch, represent in four successive types the men who made Western America—the adventurer, the priest, the philosopher, the soldier. They are repeated on each face of the Tower, the "Armored Horseman" by Tonetti, on the terrace above, being repeated four times on each side. The forms used in the decorative sculpture—the eagle, the wreath, the ship's prow, the various emblems of war—all symbolize victory and achievement. Palace of Liberal Arts The ornamental fountain alcoves placed at intervals are important decorative features of the south walls. The shrubbery has been so grouped about the niches that the details of the fountains are partially screened. Upon closer investigation, one finds an elephant's head as the central object in one niche, alternating with a lion throughout the series. They set snugly against the pink panel just over the flaring basin of travertine wherein the water trickles. At night, these niches are flecked with shadows cast by the surrounding trees. Electric lights, concealed beneath the water, shed a warm glow upon the head of the elephant in its frame of sculptured half columns. These fountain niches, designed by W. B. Faville, are in the same Spanish style of architecture which characterizes the entire south facade of the palaces. The Tower of Jewels Midway on the south face of the Tower of Jewels are inserted four commemorative tablets. The inscription on the panel at the left end of the colonnade reads as follows: 1501—Rodrigo de Bastides pursuing his course beyond the West Indies discovers Panama. The Panel at the left of the central arch reads: 1513—Vasco Nunez de Balboa crosses the Isthmus of Panama and discovers the Pacific Ocean. At the right of the central arch the panel reads: 1904—The United States succeeding France begins operations on the Panama Canal. The Panel at the right end of the colonnade is inscribed: 1915—The Panama Canal is opened to the commerce of the world. The Tower of Jewels Beyond the colonnades and the great Roman arch, on the north face of the Tower of Jewels as it faces the Court of the Universe, are four commemorative tablets similar to those found on the south side. The panel at the left end of the colonnade is inscribed: 1542—Juan Rodriguez Cabrillo discovers California and lands on its shores. The Panel at the left of the central arch reads: 1776—Jose Joaquin Moraga founds the Mission of San Francisco de Isis. At the right of the central arch the panel reads: 1846-The United States upon the outbreak of war with Mexico takes possession of California. The Panel at the right end of the colonnade is inscribed: 1850—California is admitted to the Union as a sovereign State. Palace of Manufactures The Palace of Manufactures lies directly east of the Tower of Jewels and fronts on the Avenue of Palms. In architectural design, it duplicates the Palace of Liberal Arts, the repetition giving strength and simplicity to the entire south facade. The dignified main portal is flanked on either side by two minor entrances, similarly conceived and ornamented, the lattice work within the archways relieving the solidity of the design. The composition of the Byzantine dome, with its tier of latticed windows, the "Victory"—tipped gable, the tiled slope above the arch, the bare wall spaces and the richly ornamented doorway, as seen from the South Gardens, illustrates the general construction of the main group of buildings. The dome gives height and decorative effect, the "Winged Victory" lightness and grace. The latter figure, which is repeated on the acroteria, as the gable platforms are called, of all the palaces of the main group, is by Louis Ulrich of New York. It bears, outstretched, a wreath which suggests the crown bestowed for work well done. Court of Flowers Between the Palace of Mines and the Palace of Varied Industries lies the Court of Flowers, enclosed on the third or north side by the Court of Ages and open on its southern exposure to the Avenue of Palms and to Festival Hall, which lies directly opposite. In its shape, a long oval, and in its location it is the eastern prototype of the Court of Palms, which breaks the wall of the main group of buildings toward its western end. Like that, it was designed by George W. Kelham of San Francisco. Both Courts are rich examples of the Italian Renaissance, with traces of Byzantine influence, and while a superficial view might pronounce them almost identical, a further study reveals marked individuality in conception and development. In each, the note of emphasis and the temperamental appeal are entirely distinct. The Court of Palms is simpler, more dignified, more conventional. The Court of Flowers is richer in ornament and suggestion, more softly brilliant in atmosphere. The prevailing color is yellow relieved by pink. Court of Flowers In the Court of Flowers, the colonnade encircling the entire length of its oval is bordered by Corinthian columns arranged in pairs. The smoked-ivory tone is used throughout, except in the portals, where Sienna marble gives a deep note of color. The highly ornamental floral light-standards between the columns occur elsewhere throughout the court. The cornice is edged with red Spanish tiles and above the colonnade runs a richly decorated loggia that, with its suggestion of southern influences, enhances the warm, sunny atmosphere of the court. The repeated figure of the flower-decked and garlanded "Flower Girl" is by A. Stirling Calder. A conventionalized frieze in delicately colored arabesque runs between the balcony and the columns, the prevailing motif of which is the griffin. The colonnade is broken by three portals, opening respectively into the Palace of Manufactures on the west, the Palace of Varied Industries on the east and the Court of Ages on the north. These entrances, while they do not interrupt the colonnade below, as is the case in the Court of Flowers, are made the keystones of the ornament of the upper balcony, where the triple arches, with their decorative treatment, furnish an effective break in the loggia. Court of Flowers The coupled Corinthian columns are of smoked ivory. The background of the wallspaces is the same, but between the pilasters, occur panels of warm pink. The pilasters are in pairs to harmonize with the pillars bordering the colonnade. In the portals swing Roman lamps in dull blue-green. The heavy bronze lanterns, suspended from the deep-toned cream ceiling of the corridors, are Italian in design. At night, they are illumined by a soft, red glow, while the light from the standards between the columns and through the latticed doors of the entrances of the palaces is pale gold. There is no direct lighting in the court, the only other illumination being the deep red diffusive flow which brightens the Italian towers from within, so that the warm, bright charm pervading the Court by day, gives way at night to a sense of seclusion and intimacy that makes a poetic appeal equally strong. Court of Flowers The four Italian Towers, equally distant from the Tower of Jewels, two on either side, furnish the chief elements in the fine sense of balance and proportion of the south facade of the main group of palaces. Occurring in in pairs at the entrances of the Court of Palms and the Court of Flowers and employing the same architectural elements and decoration, they show a pleasing variety in detail. The towers of the Court of Flowers have more of simplicity in design and give an even greater impression of height by the arrangement of columns. The same fairy by Carl Gruppe crowns all four towers, and helps to give the name of "the fairy courts" by which they are sometimes called. By the original design these two courts were to embody the fairy lore of the Occident and of the Orient, and the Court of Flowers, with the magic of its golden blossoms and its friendly beasts, enters far into the conception. Court of Flowers With all its loveliness of detail and witchery of color, the prevailing charm of the Court of Flowers, true to its name, lies in the effective planting of flowers and shrubs. The main path through the Court is bordered on either side by spreading lophantha trees, trimmed four feet from the ground and branching to a diameter of five feet in delicate, lacy foliage. Masses of flowers in the pervading luxuriant color-tone carpet the whole court with gold, while banks of green fill the corners and outline the borders. The six "Friendly Lions" with their conventionalized garlands, by Albert Laessle of Philadelphia, guard the three entrances, one on either side. "Beauty and the Beast," the central fountain which dominates the Court, is by Edgar Walters of San Francisco. The basin is upheld by four alternating fauns and satyrs and about the base of the fountain is a procession of beasts in low relief. The statue of "The Pioneer" by Solon Borglum, which stands at the entrance of the Court, while it bears no relation to the symbolism of the Court itself, is a companion to "The End of the Trail" which occupies the same position before the Court of Palms. Palace of Varied Industries The central portal on the south facade of the Palace of Varied Industries is by many considered the finest doorway at the Exposition. It is a copy of the Hospital of Santa Cruz at Toledo, done in the Spanish Renaissance, of a style known as the plateresque. The rich appearance has the effect of being exquisitely chiseled with scroll-like finish, reminding one of the workmanship of a silversmith. The sculptured ornamentations of the portal are the work of Ralph "The Man with the Pick," seen on the side brackets, is a freely modeled statue, also appearing upon the portal of the Palace of Manufactures. The keystone figure typifies the Laborer, who is capable of relying on his brain. The upper group represents Age transferring his burden to Youth. Avenue of Palms Facing the Avenue of Palms is the stupendous wall formed by the Palaces of Varied Industries, Manufactures, Liberal Arts and Education. This long and imposing bulwark is over-topped by the great Tower of Jewels and the two pair of Italian Towers. The walls of the palaces, ivory tinted and shadowed by palms, eucalypti and myriad shrubs, assume a new and more wonderful aspect under the batteries of the searchlights. The towers stand out against the night sky, glowing with the hidden lights like living coals, changing to pastel tints of blue and green, most beautiful of all when the reflectors convert them into shafts of white. The lamps along the Avenue punctuate the dark masses of foliage, and the contrasting high lights on towers and domes make an artificial illumination that for sheer beauty has never been equalled. Avenue of Progress Spaciousness characterizes the Avenue of Progress, not only in its breadth but in its sweeping length. From the Fillmore Street entrance, which opens directly upon the Avenue, it appears to extend across the bay and on to the hills beyond. The Service Building is upon the left and from the opposite side comes the fanfare of the "Joy Zone." The Palace of Machinery is on the eastern side of the Avenue, and on the west are the Palaces of Varied Industries and Mines. The landscape gardening is here most successfully carried out. Dracena indivisa, a species of palm, are planted at short intervals throughout the length of the boulevard. Against the dull buff of the palace walls are banked Monterey cypress and Lawson cypress, with a heavy undergrowth of fir and spruce. The attractive lawns add a touch of formality to the impressive Avenue. Whatever effect of newness might have appeared in the walls of the great palaces is mellowed by Guerin's colors and there is a splendid atmosphere of enduring solidity, softened by the picturesque gardens. Machinery Hall The Palace of Machinery extends for nearly one thousand feet along the Avenue of Progress. Its main entrance, facing the west, is composed of three splendid arches, set off by free-standing columns, which resemble weather-stained shafts of Sienna marble and are the pedestals for the sculptured figures representing the powers of "Invention," "Electricity," "Imagination" and "Steam." On the inner facade of the arches are grills of amber glass, forming a strong background for the decorative friezes and sculptured eagles, the latter being symbols which predominate throughout the Exposition. Dwarf cedars serve to magnify, by comparison, the gigantic dimensions of this entrance. Daniel Chester French's commanding statue, "The Genius of Creation," occupies a prominent place before the central arch. Machinery Hall The dimensions of the main entrance to Machinery Hall are in keeping with the size of the building, which is the largest wooden framed structure in the world. Architecturally the style is after the ancient Roman, the motif being supplied by studies of the baths of Caracalla. The decorative designs in the vestibule are sculptured figures and accompanying insignia typifying the manufacture and use of machinery by man. The relief figures of the spandrels are forcefully executed. About the base of the pillars are friezes, symbolic of mechanical invention. These relief designs are the work of Haig Patigian of San Francisco. This great archway is one of the most interesting achievements, from an architectural standpoint, to be found at the Exposition. The space covered is large, yet so cleverly handled that no bareness is suggested. The coloring within the vestibule is in shades of blue, and the massive pillars supporting the three arches are toned in rich terra cotta. Machinery Hall Flanked by Corinthian columns which reflect, in smaller size, the great pillars of the main entrance, four minor doorways break the long western wall of the Palace of Machinery on either side of the central entrance, the architectural and sculptural design in them being similar to that of the main portal. The frieze in low relief, encircling the bases of the columns and representing the genii of mechanics, is repeated from the larger entrance, as are also the figures in the spandrels, typifying the application of power to machinery. The color treatment of these doorways is especially brilliant. The Corinthian columns simulate Sienna marble. The background in the spandrels is stained a rich orange. The shell canopy, as in other panels where it is used throughout the Exposition, is in cerulean blue, the wall space beneath it is a deep pink, while the door is the customary green. The landscape planting along the entire wall is superb. Against the ivory-tinted background, various species of evergreens are grouped with consummate skill. Palace of Mines The Court of Mines, opening directly across from the main portal of Machinery Hall, is the entrance to the inner courts from the Avenue of Progress. The effective massing of the shrubbery is enlivened by the gay banners and streamers, designed by Jules Guerin, which are one of the most stimulating decorative features of the Exposition. The walls on either side are broken by the entrance portals to the buildings, done in Italian Renaissance style. Their distinctive features are the niches on either side of the entrances, in which are placed vigorous figures, designed by Albert Weinert, and the ornamental lamps below. The court is illuminated at night by concealed light thrown on the walls from reflectors in the forms of interesting green shells resting on shapely standards. Court of Ages The Court of Ages was designed by Louis Christian Mullgardt of San Francisco. Of all the Exposition courts it is the most original and imaginative in conception, the most complete in its organic, structural unity, the richest in ornament, in poetic suggestion, in the depth and dramatic appeal of its symbolism. The Court suggests many architectural periods and types, yet eludes classification under any one of them. The Gothic clearly predominates, with traces of English, Spanish, and Portuguese elements. With further hint of Romanesque, of Moorish and of French influence, these varying elements have been so fused in the imagination of the architect that the resultant creation is independent of all of them in its daring, yet restrained, originality. In the magnificent square tower at the center of its northern end, all the beauty and spiritual import of the Court culminate. Its aspiring length of line, unbroken from base to summit, faces poise and uplift, the broad, plain surfaces give nobility and strength and the exquisite richness and delicacy of the ornament give lightness and grace, while the sculpture blends and crowns the deep pervading symbolism of the Court. -Maud Wotring Raymond Court of Ages While it is possible to find keen enjoyment in the Court of Ages for its delicate beauty and exquisite refinement alone, even the slightest study of its architectural and sculptural detail reveals a depth of underlying purpose and meaning that invites further analysis. The architect calls it "an historical expression of the successive ages of the world's growth." He suggests four stages: the nebulous world, symbolized by the central fountain, in which Robert Aitken of San Francisco has worked out a stupendous study of primeval passions. Out of chaos, come the elemental forces, Water, Land and Light. The braziers and cauldrons symbolize Fire. The two sentinel columns, flanking the tower on either side, are Earth and Air. The eight paintings, by Frank Brangwyn of London, in the corridors in great richness of color depict Earth, Air, Fire and Water. Thus the first state is indicated. The second stage is symbolized by the decorative motifs employed on the arcade surrounding the court, where on piers, arches, reeds and columns, in marvelously wrought sculptural ornament, is shown the transition from plant to animal life through kelp, crab, lobster and other sea animals and shell motifs. —M. W. R.Court of Ages Following the symbolism of the Court of Ages through the first nebulous period of the world's growth, through the second, which shows the transition in successive forms of sea-plant life, the third period is reached where are illustrated the earliest forms of human, animal, reptile and bird life prevailing in the stone age. This age is indicated, in the court, by the prehistoric figure surmounting the piers of the arcade and by the first sculptured group over the entrance to the tower. The repeated arcade figures, which were designed by Albert Weinert, represent alternately Primitive Man and Primitive Woman. The perfection of the landscape planting and the skill with which it subtly accentuates the meaning of architecture and sculpture are worthy of study. In the background, close against the piers of the arcade, tall, slender Italian cypresses emphasize their rhythmic length of line. Amid a growth of tropical luxuriance stand glossy-leafed orange trees laden with fragrant blossoms and golden fruit. Balled acacias in formal rows outline the paths, while a succession of plantings has given a varying color scheme and a new perfume to each season. —M. W. R.Court of Ages The Court of Ages is the only one of the Exposition courts which is entirely independent of outside influences. The other courts derive breadth of appeal from the fine vistas through arched gateways or along dignified colonnades. The Court of Ages is shut in upon itself by the arcaded and vaulted ambulatory which extends continuously around its four sides, and by this cloistered effect, its individual impression is deepened and intensified. |
|