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.
-Maud Wotring Raymond
Court of Ages
The Fountain of Earth
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
The Garden of Hyacinths
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
A Glimpse From the Colonnade
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.
Through the lovely rounded arches of this encircling colonnade, which is
elevated a few feet, one looks down into the beauty of the court, or out
across it to the richly fretted walls. In the curve of each arch, hang
two delicately modeled lanterns.
--M. W. R.
Court of Ages
A Vista in the Colonnade
The cloistered effect of the long colonnade surrounding the four sides
of the Court of the Ages is deepened by the vaulted ceiling, which, in
its Roman simplicity of line, contrasts effectively with the filigreed
exterior of the arcade.
The only color in the court, aside from a slight use in the tower and
the massed luxuriance of flowers, is found in the corridors where,
between the square pilasters, the prevailing old ivory is stained pink
of a deeper tone than in the other courts. The ivory pilasters are
carried up into the ceiling in curving, transverse arches, while the
band of blue, following their edges, leads to the rich blue depths
between them. At the far end of every vista glows the riot of color in
the mural paintings by Frank Brangwyn. The play of sunlight through the
succession of rounded arches increases the sense of bright charm.
--M. W. R.
Court of Ages
The Tower Through North Aisle
In the North Court of Ages, leading to the Esplanade, the tower is
identical with the main court, and the entire architectural treatment,
while simpler, is in the same spirit. Robbed of the complex symbolism by
which, in the larger court, the evolution of the lower forms of life is
depicted, the higher spiritual lesson is here intensified. The
sculptured groups in the tower, by Chester A. Beach of San Francisco,
represent the rise of humanity through successive ages of civilization.
The conventionalized lily petals decorating the summit of the tower
suggest the highest forms of plant life. The delicate lace-like finials,
rising from the highest points of court and tower alike, express
aspiration. The chanticleers on the finials surrounding the court
symbolize the dawn of Christianity.
The star-like clusters of lights, raised aloft, two in the main court
and four in the north court, deepen the ecclesiastical atmosphere by
suggesting the golden monstrance emblematic of the rays of the sun and
of the radiating presence of God, and used in the Catholic Church as a
receptacle for the sacred host.
--M. W. R.
Florentine Court
Palace of Transportation
The Florentine Court and the Venetian Court lie east and west
respectively of the Court of the Universe. They are sometimes called the
Aisles of the Rising and the Setting Sun. While in reality only
connecting avenues, the wealth or careful detail lavished upon them
makes of them charming interludes between the larger and more imposing
courts, and yet so skillfully do they conform to the general plan that
they blend one larger court with another, without expressing a distinct
individuality of their own. They were planned by W. B. Faville of San
Francisco. While identical in design upon three sides, their adaptation
upon the fourth side to the courts which they adjoin, east and west, and
the variety in landscape effects, insure against exact duplication.
The Florentine Court lies between the Court of Ages and the Court of the
Universe, with the Palace of Transportation bounding it on the north and
the Palace of Manufactures on the south. Its eastern wall repeats the
rich decorative treatment of the Court of Ages, which it joins.
Court of the Universe
Through Three Great Arches
When one stands in the Court of the Four Seasons, facing east, two
splendid arches are seen framed by the Eastern Gateway of the Court. The
first, across the Venetian Court, is the Arch of the Setting Sun,
surmounted by its symbolic group of the Nations of the West. Across the
vast Court of the Universe, beyond the Fountains of the Rising and the
Setting Sun, is the triumphal Arch of the Rising Sun surmounted by its
symbolic group of the Nations of the East.
These magnificent modern expressions of the arches erected by the old
Romans to commemorate their triumphs were designed by McKim, Mead and
White, the architects of the Court of the Universe, and are richly
adorned with sculpture designed by various artists. In the attics are
carved appropriate inscriptions selected by Porter Garnett, which will
be found on succeeding pages.
There is an atmosphere of bigness about the Court of the Universe,
created not only by the architectural features, but by the symbolism of
the final meeting of the Nations of the World, made possible by the
completion of the Panama Canal.
Court of the Universe
Triumphal Arch, The Setting Sun
The magnificent mass of the Western Arch is heightened at night by the
effective illumination. Shafts of white light from concealed projectors
pick out, the sculptured group that surmounts it. The bulk of the arch
catches only the rays from minor lamps within the court and upon this
shadowy pedestal, the group of the Nations of the West stands out in
strong relief. Below, the ceilings of the arch and corridors are
brilliant from concealed lights placed within them.
Court of the Universe
Triumphal Arch, The Rising Sun
The triumphal arches which by night gain in majesty and mysterious
power, by day have the added beauty of the color manipulation and
decorative treatment, which is exceedingly rich and varied.
The twisted columns of Sienna marble which flank the arch, two on either
side, are composite, mingling Corinthian and Ionic elements. Each column
is crowned with a sculptured figure, representing the "Angel of Peace"
by Leo Lentelli. Between the columns, set in a square of deep pink, is a
burnt orange medallion, the figures in relief, suggesting Nature and
Art, being designed by A. Stirling Calder and B. Bufano.
On either side of the curve of the arch, latticed windows in green give
a Moorish touch. The figures in the spandrels, representing Pegasus are
by Frederick G. R. Roth. A frieze in relief, bands the arch beneath the
inscription, while Cleopatra's needle, four times repeated, gives height
and classic emphasis to the crenellated parapet out-lining the summit.
The sculptured groups "The Nations of the East" and "The Nations of the
West" are the joint work of A. Stirling Calder, Frederick G. R. Roth and
Leo Lentelli.
Court of the Universe
Fountain of the Rising Sun
In the eastern portion of the sunken garden is the Fountain of the
Rising Sun. The tall, slender shaft, a column of travertine by day and a
column of light by night, supports a sphere upon which is poised a
statue typifying the dawn of day. Adolph A. Weinman is the sculptor of
this "Rising Sun" which is so deservedly popular on account of the
irresistible appeal of the youthful figure.
Everything about the fountain is indicative of the vigor of youth, the
energy associated with the rising of the sun. The friezes about the base
represent the triumph of light over darkness, and the merry play of
waters suggests perpetual activity. The concrete bowl is of goodly
proportions and within the pool are sculptured figures representing
mythical creatures of the ocean.
Bordering the fountain are gardens, at first ablaze with rhododendrons,
then massed with the pink blooms of hydrangeas, and later bright with
the flowers of each successive season.
Court of the Universe
Fountain of the Setting Sun
Quite as lovely in every detail as the preceding is the Fountain of the
Setting Sun. It is in the opposite portion of the sunken garden where,
when the sun is in its descent, it is shadowed by the Triumphal Arch of
the Nations of the West.
Crowning the pillar is the figure of a maid, her drooping wings and
languorous pose denoting relaxation, a suspension of the day's toil.
This statue was also modeled by Adolph A. Weinman. The supporting shaft
conveys an impression of buoyancy and there are friezes above and below
the bowl of the fountain similar to those of the Rising Sun. At night
the columns which support these figures are aglow with concealed lights,
and the beauty of the fountain is wonderfully enhanced.
Court of the Universe
The Fountain Pool and Tower
The inscriptions on the two Triumphal Arches in the Court of the
Universe are drawn respectively from Occidental and Oriental literature.
It was designed that the large central panels possess a cosmical, an
epical, or an elemental quality, and that the smaller panels on either
side deal with abstractions, such as truth, nature or beauty. In
accordance with this plan, the inscriptions on the Arch of the Setting
Sun facing away from the court are as follows: