The Project Gutenberg EBook of The Architecture and Landscape Gardening of the Exposition, by Louis Christian Mullgardt

Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.
Please read the “legal small print,” and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.


**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers!*****
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
Release Date: January, 2006 [EBook #9647]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on October 13, 2003]
Edition: 10
Language: English
Character set encoding: ASCII
*** START OF THE PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION ***
Produced by David A. Schwan
The Architecture and Landscape Gardening of the Exposition
A Pictorial Survey of the Most Beautiful of the Architectural
Compositions of the Panama-Pacific International Exposition
With an Introduction by
Louis Christian Mullgardt
F.A.I.A.
Architect of the Court of Ages
Member of the Architectural Commission of the Exposition
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
The Architecture and Landscape Gardening of the Exposition.
Louis Christian Mullgardt
Illustrations
The Rotunda of the Palace of Fine Arts–A View by Night. Hilda Van
Sicklen, photo. (Frontispiece)
Panorama–Exposition from Presidio Heights. W. Zenis Newton, photo
Tower of Jewels–The Illumination by Night. J. L. Padilla, photo
Fountain of Energy–A View in the South Gardens. W. Zenis Newton, photo
Festival Hall–South Gardens and Mermaid Pool. W. Zenis Newton, photo
Festival Hall–The Terrace and Colonnade. W. Zenis Newton, photo
Festival Hall–Mermaid Pool in the Mist. Jesse T. Banfield, photo
Palace of Horticulture–The Dome and East Entrance. W. Zenis Newton,
photo
Palace of Horticulture–Dome and Spires by Night. James M. Doolittle,
photo
Palace of Horticulture–The Colonnade on the East. W. Zenis Newton,
photo
Horticultural Gardens–Floral Exhibit in the Open
Avenue of Palms–View from Administration Avenue. W. Zenis Newton,
photo
Palace of Education–Main South Portal. W. Zenis Newton, photo
Palace of Education–One of the Minor Entrances. Pillsbury Pictures
Court of Palms–The Sunken Pool by Night. W. Zenis Newton, photo
Court of Palms–Portal, Palace of Education. Jesse T. Banfield, photo
Court of Palms–Portal, Palace of Liberal Arts. W. Zenis Newton, photo
Court of Palms–Italian Tower from Main Portal. W. Zenis Newton, photo
Court of Palms–In the Colonnade by Night. William Hood, photo
Court of Palms–A Curve in the Colonnade. W. Zenis Newton, photo
Palace of Liberal Arts–Portal, From the South Gardens.
Cardinell-Vincent, photo
Palace of Liberal Arts–The Tower of Jewels by Night. J. L. Padilla,
photo
Palace of Liberal Arts–Elephant Fountain Niche by Night.
W. Zenis Newton, photo
The Tower of Jewels–The Great Roman Archway. W. Zenis Newton, photo
The Tower of Jewels–Colonnade, The Fountain of Youth.
W. Zenis Newton, photo
The Palace of Manufactures–Portal, From the South Gardens.
W. Zenis Newton, photo
Court of Flowers–Fountain, Beauty and the Beast. J. L. Padilla, photo
Court of Flowers–Portal of Varied Industries. W. Zenis Newton, photo
Court of Flowers–A Vista in the Colonnade. William Hood, photo
Court of Flowers–Italian Tower from Colonnade. W. Zenis Newton, photo
Court of Flowers–The Friendly Lion at the Portal. Jesse T. Banfield,
photo
Palace of Varied Industries–Main Portal. Cardinell-Vincent, photo
Avenue of Palms–The South Facade by Night. Cardinell-Vincent, photo
Avenue of Progress–The Fine Vista to the Marina. W. Zenis Newton,
photo
Machinery Hall–The Central Arch in the Portal. W. Zenis Newton,
photo
Machinery Hall–The Colonnade in the Portal. W. Zenis Newton, photo
Machinery Hall–One of the Minor Entrances. W. Zenis Newton, photo
Palace of Mines–A Lamp Niche in the Court. W. Zenis Newton, photo
Court of Ages–The Tower by Night Illumination. William Hood, photo
Court of Ages–The Fountain of Earth. Pillsbury Pictures
Court of Ages–The Garden of Hyacinths. W. Zenis Newton, photo
Court of Ages–A Glimpse from the Colonnade. W. Zenis Newton, photo
Court of Ages–A Vista in the Colonnade. W. Zenis Newton, photo
Court of Ages–The Tower through North Aisle. W. Zenis Newton, photo
Florentine Court–Palace of Transportation. W. Zenis Newton, photo
Court of the Universe–Through Three Great Arches. W. Zenis Newton,
photo
Court of the Universe–Triumphal Arch, The Setting Sun. W. Zenis Newton,
photo
Court of the Universe–Triumphal Arch, The Rising Sun.
Court of the Universe–Fountain of the Rising Sun. Pillsbury Pictures
Court of the Universe–Fountain of the Setting Sun. W. Zenis Newton,
photo
Court of the Universe–The Fountain Pool and Tower. James M. Doolittle,
photo
Court of the Universe–Corinthian Colonnade and Gardens
Court of the Universe–In the Promenade by Night. Jesse T. Banfield,
photo
Court of the Universe–A Niche and Urn by Night. Jesse. T. Banfield,
photo
Palace of Transportation–In the Corinthian Colonnade. W. Zenis Newton,
photo
Venetian Court–Palace of Agriculture. James M. Doolittle, photo
Court of the Four Seasons–The Night Illumination. William Hood, photo
Court of the Four Seasons–The Great Half Dome. Jesse T. Banfield,
photo
Court of the Four Seasons–The Western Archway. W. Zenis Newton, photo
Court of the Four Seasons–One of the Colonnade Murals.
W. Zenis Newton, photo
Court of the Four Seasons–The Ionic Columns. Jesse T. Banfield, photo
Court of the Four Seasons–The Colonnade and Lawn. W. Zenis Newton,
photo
Court of the Four Seasons–The North Colonnade by Night.
W. Zenis Newton, photo
Palace of Food Products–The Portal from the Gardens.
W. Zenis Newton, photo
Palace of Food Products–A Detail of the Main Portal. W. Zenis Newton,
photo
The Esplanade–North Facade, Column of Progress. W. Zenis Newton, photo
North Facade–A View from the Bay. Pillsbury Pictures
Palace of Food Products–A View from the Fine Arts Laguna.
Jesse T. Banfield, photo
Palace of Education–A View from the Fine Arts Laguna.
Cardinell-Vincent, photo
Palace of Education–The Half Dome of Philosophy. W. Zenis Newton, photo
Palace of Education–The Fountain in the Portal. W. Zenis Newton, photo
Administration Avenue–The Fine Arts Laguna
Palace of Fine Arts–The Rotunda and Laguna. Jesse T. Banfield, photo
Palace of Fine Arts–The Rotunda and Peristyle. W. Zenis Newton, photo
Palace of Fine Arts–The Peristyle and Laguna
Palace of Fine Arts–In the Peristyle Walk. W. Zenis Newton, photo
Palace of Fine Arts–The Rotunda from the Peristyle. W. Zenis Newton,
photo
Palace of Fine Arts–The Peristyle Walk by Night. Jesse T. Banfield,
photo
Palace of Fine Arts–A Fountain in the Laguna. W. Zenis Newton, photo
Palace of Fine Arts–A Picturesque Garden Fountain. Jesse T. Banfield,
photo
Palace of Fine Arts–The Garden and Fountain of Time. Jesse T. Banfield,
photo
California Building–Bell Tower and Forbidden Garden.
California Building–The Arches of the Colonnade. W. Zenis Newton, photo
California Building–A Vista in the Colonnade. W. Zenis Newton, photo
California Building–The Forbidden Garden. Hilda Van Sicklen, photo
California Building–The Semi-Tropical Garden. W. Zenis Newton, photo
Netherlands Pavilion–As Seen from the Laguna. Pillsbury Pictures
Italian Pavilion–The Piazzetta Venetia. Cardinell-Vincent, photo
Italian Pavilion–In the Court Verrochio. James M. Doolittle, photo
Avenue of the Nations–Tower of Sweden’s Pavilion. W. Zenis Newton,
photo
The Esplanade–A View of the Foreign Pavilions. W. Zenis Newton, photo
The Esplanade–A View of the State Buildings. W. Zenis Newton, photo
The Zone–A Holiday Gathering The Zone
The Bizarre Decorations. J. L. Padilla, photo
The Fireworks–Star Shells and Steam Battery. Jesse T. Banfield, photo
Zone Salvo–The Final “Big Noise.” Jesse T. Banfield, photo
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
Architectural Board, in the fall of 1911, consisting of Messrs. Willis
Polk, Clarence R. Ward, John Galen Howard, Albert Pisses and William
Curlett. This Advisory Board was succeeded by an Architectural
Commission, consisting of Messrs. Willis Polk, Chairman, Clarence R.
Ward, W. B. Faville, George W. Kelham, Louis Christian Mullgardt (all of
San Francisco), Robert D. Farquhar of Los Angeles, McKim, Mead and
White, Carrere and Hastings, and Henry Bacon (all of New York); Messrs.
Bakewell and Brown and Bernard R. Maybeck were subsequently commissioned
as Exposition Architects. The first named nine architects constituted
the permanent Architectural Commission which recommended to the Board of
Directors the General Plan of the Exposition, which was substantially
followed as a guide to the results accomplished.
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
Gardening of the Exposition
Panorama
Exposition from Presidio Heights
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 Illumination by Night
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
A View in the South Gardens
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
South Gardens and Mermaid Pool
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 Terrace and Colonnade
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
Mermaid Pool in the Mist
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 Dome and East Entrance
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
Dome and Spires by Night
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 Colonnade on the East
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
Floral Exhibit in the Open
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
View From Administration Avenue
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
Main South Portal
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
One of the Minor Entrances
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
The Sunken Pool by Night
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
Portal, Palace of Education
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
Portal, Palace of Liberal Arts
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
Italian Tower from Main Portal
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
In the Colonnade by Night
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
A Curve in the Colonnade
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
Portal, From the South Gardens
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
The Tower of Jewels by Night
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
Elephant Fountain Niche by Night
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
The Great Roman Archway
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
Colonnade, The Fountain of Youth
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
Portal, from the South Gardens
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
Fountain, Beauty and the Beast
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
Portal of Varied Industries
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
A Vista in the Colonnade
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
Italian Tower from Colonnade
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
The Friendly Lion at the Portal
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
Main Portal
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
Stackpole. He is most fortunate in his treatment of the industrial
types. The relief panel in the tympanum represents the industries of
Spinning, Building, Agriculture, Manual Labor and Commerce.
“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
The South Facade by Night
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
The Fine Vista to the Marina
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 Central Arch in the Portal
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 Colonnade in the Portal
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
One of the Minor Entrances
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
A Lamp Niche in the Court
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 Tower by Night Illumination
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.