Chapter 3

All types of men are taking the journey and you are reminded that not alone workmen and adventurers are leading the procession, but ministers, women with their refining influence, children with their school books, and college men with gown and mortar-board, with books under arms - all moving on the long journey westward.

Occupying the same position on the southern side of the arch the companion-piece, by Frank Vincent Du Mond, shows these men from the Atlantic arriving at the shores of the Pacific.

The people of the west with outstretched arms welcome the travelers. The children of the Pacific shores run with flowers and fruits to greet them. You will notice the different types arriving from the Atlantic shore - literary men (with pen and book), architects (with temple in hand), scientists (with book under arm), Franciscan friars (with crucifix and mission bells in hand), etc. These are followed by the Red Coats, indicating those who preserved order. These men are all led by the Spirit of Adventure. She is no longer in the foreground, but is ready to fall behind as soon as she has fulfilled her mission.

The agricultural interests of the western countries are suggested by the wheat and implements of the field. The heavily laden orange trees speak of the fruit industries. Does the tapir stand for South America? Surely, South America is coming into the foreground just now.

The people have now been brought to the shores of the Pacific.

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The Panama region is the one next to be visited and you rehearse its story, standing under the Tower of Jewels, "The Panama Canal."

These are the murals of Frank DeLeftwich Dodge:

1. The Panama Isthmus is discovered. 2. It is purchased by the United States. 3. You are reminded that the great waters - the Atlantic and the Pacific - play with titanic force on either side of the isthmus. 4. The Panama Canal is completed. 5. Labor is crowned. 6. The achievements which follow are shown: (The caduceus, the wand of Mercury, the symbol of commerce, is prominent.)

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Pass thru this Tower of jewels noticing in the eastern and also the western arcades two fine fountains.

On the left is the Fountain of Youth by Mrs. Edith Woodman Burroughs of Flushing, Long Island.

The simple, beautiful, naive figure standing on the pedestal is Youth, the United States, the child that has come from old parents (Europe).

The old father and mother have had many children - many little primroses you will notice - but none more dear than this one. The charming panels will remind you that the old people of today are being rowed by the young. These children row the vessels, bring them to shore and fasten them to their moorings.

Many of the old people are deaf or blind and are straining to follow the young who, with willing hands are guiding them on. A most charming, lovely work is this, and adds a fine touch to the open book that we are reading. Don't lose the eagle and laurel wreath back of Youth. They are significant.

Oh the other side is the fine formal fountain of "El Dorado," by Gertrude Vanderbilt Whitney of New York.

The fountain of El Dorado brings to mind the old Indian legend of El Dorado, the Gilded One:

There was once among the South American tribes a belief that in a certain far-off country lived a king called El Dorado, the Gilded One. He ruled over a region where gold and precious stones were found in abundance.

The story influenced a vast number of adventurers who led expeditions to seek the land of golden treasure, but, notwithstanding the fact that they searched most carefully and for long periods, they all failed to find it.

The idea of the unattainable gave the suggestion to Mrs. Whitney for her fountain.

The gold of El Dorado was used as the symbol of all material advantages which we so strongly desire - wealth, power, fame, etc.

In the panels are seen the men and women of life in their mad race for the unattainable.

Many have had a glimpse of El Dorado, the Gilded One, and are rushing on to pass the mysterious gate behind which the desires of life await them.

Some faint by the roadside or stop in their race for the goal to contend or to loiter by the way, but those nearest the El Dorado increase their speed - rush madly on.

Beside the gateway that has only just allowed the fabled El Dorado, the Gilded One, to pass through are two mortals who have come close to the land of their desires, but only to find the door shut and slaves beside it barring the way. Their strength is expended, their courage gone in the long race for material things. The panels of this fountain tell us in satirical language something we can profitably think over and realize if we will.

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The Ethical Side of the Court of the Universe

After man has created the great "Isthmian Way," it is well to think on his fine ethical standards.

Read on the triumphal arches these quotations on truth, honor, justice, wisdom:

(Spain)

"Truth, witness of the past, counsellor of the present, guide of the future." (Cervantes in Don Quixote.) East side of Arch of the Setting Sun.

(China)

"They who know the truth are not equal to those who love it." (Confucius from the Confucian Analects translated by James Legge.) West side of the Arch of the Rising Sun.

(Arabia)

"He that honors not himself lacks honor where soe'er he goes." (From the "Mu'allaqua" of Zuhayr ibn Abi Sulma translated by Reynold A. Nicholson.) East side of the Arch of the Rising Sun.

(Italy)

"The world is in its most excellent state when justice is supreme." (Dante Purgatoria.) West side of the Arch of the Setting Sun.

(Siam)

"A wise man teaches, be not angry; from untrodden ways turn aside." (From the sayings of Phra Ruang, Prince Ram Khamheng of Sukhothai.) East side of the Arch of the Rising Sun.

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Coming into this great Court of the Universe one hopes that truth, honor, justice and wisdom will be maintained.

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The Floral Side of the Court of the Universe

This court will show a succession of beautiful bloom throughout the year. The daffodils will have their golden season, the rhododendrons their brilliant sheet of color, and in May the columns will support our various climbing roses, exhaling their perfume for all who come to this Land of Flowers.

Summer flowering annuals will follow and later the autumnal flowers.

Read the quotation on the aisle side of the Arch of the Rising Sun:

"The balmy air diffuses health and fragrance, So tempered is the genial glow that we know neither heat nor cold. Tulips and Hyacinths abound. Fostered by a delicious clime, the earth blooms like a garden."

- Firdausi.

(Annals of Kai-Kaus, in James Atkinson's translation of Shah Nameh.)

So, while thinking of a Persian garden in the quotation, we feel the applicability of these words to the California gardens.

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The Festival Side of the Court of the Universe

There is still another side to realize in this meaningful court. The exposition is a great festival, a triumphal festival, and you meet the suggestions of it all around you.

This great court is entered on three sides by Triumphal Arches.

The Triumphal Arch of the Occident, The Triumphal Arch of the Orient, The Triumphal Arch of the Tower of Jewels.

The prototype of the triumphal arch is seen in many places, most satisfactorily today in Rome.

The Arch of Constantine is the best model for us to examine, for it has three openings - even if the shape of the side opening is not the same as that of the arches before us.

The great court is hung with festoons (on the frieze) and decorated with the vine and its grapes (on the architrave).

The bulls' heads with festoons are represented on the frieze as they once were on the altars of old when the festival, "The Feast of the Sacrifice," was celebrated. (Refer to the same subject in The Court of the Four Seasons.)

In stately procession around the sunken garden are seen the Canephori bringing their jars of nectar.

The Canephori in old Greek days were the maidens who formed part of the great processions, such an one as the Panethenaea, carrying on their heads baskets which held the consecrated temple furniture, to be deposited at the end of the long march in the temple.

Here the sculptor has taken the license of representing men with the maidens, and instead of baskets has used vases.

This idea of the festival is strongly accented at night when you are transported to old Greek and Roman days.

Follow after this procession and you will notice that Paul Manship's "Joy of Living," or "Motion," as it is also called, has entered. The joyous girls in perfect abandon are coming to join the happy throng. They bring their offerings in the shape of great wild-rose festoons, well suited to the "Wild Roses" who carry them.

Near by is Paul Manship's "Music," adding the song, and the music of the lyre.

As a last touch you will find the nations of the Occident and the nations of the Orient marching into this Court of the Universe to take part in the festival in celebration of one of the greatest events of history - the opening of the Panama Canal.

At night comes the illumination, as a climax to the festival, and gradually the lights die down and all is still - just for a few hours only, for day will dawn, for is not the Rising Sun ever with us - and another day of festivity will come, and yet more at this greatest festival that the world has ever known.

The Tower of Jewels

Architect - Thomas Hastings of New York.

Architecture - Italian Renaissance with Byzantine features.

This great Tower of Jewels symbolizes the Panama Canal, the jewel today that is most resplendent.

It is 433 feet high. In cold weather, owing to the contraction of the steel, it is said to be four inches shorter than in warm weather.

The arch is 110 feet high and 60 feet broad.

The tower is in seven lifts, surmounted by the earth with its shimmering jewels. You are reminded that the whole earth is affected by this stupendous piece of engineering (the Panama Canal).

The figures on the pedestals of the arch are by John Flanagan of New York, and they represent:

1. The Adventurer, the type of man of the 16th century who pushed out into the wilderness of the southwest. 2. The Priest, the type of man who came to convert the country in the 16th century. 3. The Philosopher, who by his fine knowledge of the Greek and Latin manuscripts was able to disseminate knowledge in the 16th century thruout the new regions. 4. The Warrior, the type of 16th century soldier who came to conquer the country.

On the first tier you meet the Armoured Horseman by Tonetti, the type of colonizer of the 16th century.

Now look at the equestrian statues that stand on either side of the Tower. That on the right is Cortez (by Chas. Niehaus), the conqueror of Mexico - the man who wrested Mexico from Montezuma for the kingdom of Spain.

On the left Pizarro (by Chas. Rumsey), the conqueror of Peru, who gained for Spain the land of the Incas.

The country north of the Panama region was conquered by the Spanish. That on the south of Panama was also the Spanish land.

It is time now to read the inscriptions on the south side of the tower:

1501

Rodrigo de Bastides, pursuing his course beyond the West Indies, discovers Panama.

1513

Vasco Nuñez de Balboa, crossing the Isthmus of Panama, discovers the Pacific Ocean.

1904

The United States, succeeding France, begins operations on the Panama Canal.

1915

The Panama Canal is opened to the commerce of the world.

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The United States has put thru the canal, so the American eagle with outstretched wings is seen as a decorative motive on either side of the Tower - with telling suggestions.

The hand of the law is governing the commerce of the Panama Canal, hence you receive that gentle reminder in the Roman insignia, the fasces.

In the old Roman days of the kingdom, as well as in the days of the Roman republic, the lictor marched in front of the head of the State carrying the fasces, those twelve birch rods with the ax, indicating punishment and then death if the laws were not obeyed.

The fasces are seen at the extreme ends of the wings of the tower.

It is interesting to see this same device used in the Liberal Arts Palace and in the Educational Palace - especially in reform exhibits or such exhibitions as the New York Educational Exhibit, where the hand of state is suggested.

The laurel wreath on the tower is another speaking motive.

The vessels push out in all directions from the Panama Canal. You get that suggestion at the corners of the third lift.

Don't lose sight of the beautiful turquoise green columns in the temple forms of the Tower. At night the aquamarines follow out the same beautiful color.

Watch, when the Tower is first illuminated with the blood glow, and you will see that it almost pulsates with life. It should, for is it not the vital part of this great Exposition?

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Jewels on the Tower

There are some ten tons of jewels used at the Exposition.

Fifty thousand jewels are used on the Tower alone, accenting in the main its architectural feature.

These jewels are of live colors - mostly canary and white glass, ruby, emerald, aquamarine.

Mathematical calculations have been made by expert physicists to show at just what angle the jewel must be cut.

These jewels were made in Austria.

Nearly every village in Austria has its glass workers - the finest workers in their line in the world.

Sand of a peculiar quality is most carefully prepared, mixed with other ingredients, the whole being brought to a molten state.

This glass is then poured into molds.

It is taken out of the molds, the casts being carefully trimmed by hand. The principal tool used is a rotating sanded wheel.

The prism is polished by hand with tin, so as to make the facets perfectly smooth. This glass must be very hard in order to reflect sufficiently well.

The glass is called Sumatra Stone. It is tinted to counterfeit jewels. These jewels are held in place by metallic bands from which extend small arms at the back of each jewel to hold tiny mirrors which assist in the reflection.

Each jewel is suspended from a hook so that it is in constant vibration, in order to catch the rays of light most advantageously.

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As you have now rehearsed your history and have in mind what has been done by the United States in regard to the Panama Canal (the Tower of Jewels), walk thru the Court of the Universe to the Esplanade where stands the Column of Progress.

The Column of Progress

The prototype of this column is seen in Trajan's Column in the Forum of Trajan or in the Column of Marcus Aurelius, in Rome.

Architect - Symmes Richardson, one of the junior partners of the firm of McKim, Meade and White of New York.

The bas-reliefs at the base are by Isadore Konti of New York.

The sum of all human effort is represented. Man's spiritual progress is seen on the four sides of the base.

Atlas rolling the heavens suggests the passage of time.

Men with their different ideals in the long procession of progress are seen. Some go manfully on, some fearfully, some feel the need of the sword to win their way, others find companions necessary, but all of these men and women must have faith (represented by the two meaningful women at the door), the hope of the palm of victory, and hear the bugle call as they go on their upward climb.

They pass before us, these men and women of different aspirations, and disappear from view.

Up, up they climb.

At the top of the column is Hermon A. McNeil's Burden Bearers, supporting his Adventurous Bowman.

"All must toil to win" and some must bend their backs that others may rise. Has it not been so at the Panama Canal?

Have not many done the labor that the United States, the Adventurous Bowman, may win?

This purposeful type of manhood, with magnificent decision, has just drawn the bow, and on has sped the arrow of success.

The bowman looks to see it hit the mark.

The man on the right possibly is one of his aids.

The little woman at his side will know by his eyes if the arrow has gone home, and she will then bestow upon him the laurel wreath and the palm of victory which she holds in her hand. She stands ready to help him.

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See the group from the sea-wall directly in front of the Column of Progress for the splendid purpose expressed in the figure and on the face of the "Adventurous Bowman."

Many San Franciscans would like to have this wonderful group duplicated in bronze to remain permanently with the city of the Exposition of 1915.

The Court of the Ages and not The Court of Abundance

Architect - Louis Christian Mullgardt of San Francisco.

Architecture - If one could call this beautiful architecture by name one might say Spanish Gothic, on account of the round-arched Gothic and also the Spanish finials used, but it is so thoroughly original that this is hardly the term to use. It is Romanesque in its vaulting of the corridor, and at first glance in its great square tower, and arches, and yet not Romanesque architecture.

It is suggestive of the last period of English Gothic in its rich parallelism of vertical line - and yet is not that.

It is suggestive of the flamboyant decoration of the French architecture such as one sees and feels at Rouen Cathedral - and yet, not that, for on looking closer one sees not wavy line suggesting flame, but the wave of the kelp of the sea - and then one realizes that the vertical lines represent falling water.

The kelp is turned, looped and suspended with all sorts of lobsters, crabs, sea-turtles, octopi, flounders, etc., wriggling thru it, not seen at first, then in strong evidence, making you wonder why you had not seen them before.

The whole cloister represents the magical power of water and fire worked out in travertine, fountains and illuminations.

This court certainly shows the most marked originality in the architectural line at the Exposition. It is the conception of a man of rare invention, imagination, and marked poetic feeling. It is surely the last word in stucco. Everybody loves this Court of the Ages, and everybody wishes that we could have something permanent like it somewhere - perhaps in San Francisco. We shall all be loath to part with in when the two hundred and eighty-eight days are gone.

The arches of perfect proportions are allowed two swinging fairy lanterns apiece - a soft glow coming from them.

In the corridors are globes which at night look like lambent moonstones, casting soft light.

Walk down the corridors (not noticing the glorious murals at the ends) to observe the fine manipulation of color.

Notice that the usual pink of the walls has here a deeper tone - a terra-cotta warmth added, making a most wonderful combination with the blue vault above. The arches are of smoked ivory. Your eye catches a line of cerulean blue at your side, and up you follow the blue, until it gains its fullest expression in the square area of the groined vaulting. Notice how bands of smoked ivory play the part of transverse arches. It is so very beautiful here.

The murals in this corridor are more wonderful than words can tell. They are by Frank Brangwyn of London, and represent Earth, Air, Water, Fire.

Earth - Two canvases represent the Earth, the teeming, opulent earth giving of its fullness. Men with great baskets gather the harvests of vegetables and fruits (especially the luscious grapes in the second canvas).

Fire - One canvas shows Primitive Fire, where by means of leaves and twigs the narrow curl of smoke ascends between the trees. Men on bended knees blow the slowly burning leaves and fan the flame.

The aged draw near to feel the warmth; nearer comes the man with the little child in his arms - and, as a result, we have a homely woodland scene of primitive times.

The second representation of the same subject glows on the next canvas.

The subject is Industrial Fire. Men have made a rude furnace in which the pots are being baked. Pots of all sizes and shapes are being brought by the men and women of the neighboring region.

The great cloud of blue smoke rises in increasing breadth and height thru the trees.

Don't fail to notice the wonderful skies in these two canvases.

Water - On a portion of land between two waters men and women have sauntered down to the water's edge to fill their jars. The flamingoes, birds of the water, stand in the foreground telling you that water is near. Plants grow luxuriantly on the banks. Pregnant clouds are blown nearer and nearer. The canvas is fairly moist with watery suggestions.

It would not be hard to realize when you look at this canvas that it was done by a man who understands the art of making stained-glass windows. He cannot keep his secret from you.

The second treatment of Water - Great brawny-armed fishermen are pulling in their heavy net. In the distance come men with baskets on their heads to carry away the wriggling fish. Beyond the trees the heavy moisture-laden clouds come nearer and nearer.

Air - A great windmill such as one sees in Frank Brangwyn's etchings (for he lived during his youth in the windmill country, making what he saw around him his own).

The wind has brought the storm-laden clouds and the rain is descending. The currents of moisture-laden air are reflecting the rainbow. The wheat of the field bends far forward as the wind blows over it.

The belated harvesters (the foremost with his winnowing sieves) are blown forcibly along their path.

The many flowers bend their heads under the forward movement of the breeze. It is most interesting to notice how many devices have been used in order to make the work as suggestive as possible.

The second treatment of Air. The great trees are most noble in their strength.

Men, strong like the trees, are shooting thru the air their arrows.

A flock of frightened white birds are cutting the air, showing you why the men are there. This is a simple but clever treatment of the subject.

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If you would know why you feel that there is something ancestral in these glorious compositions, why the strong colors are so well combined, why the canvases breathe freedom of thought and action, why the distances are so marvelously expressed, why the sky and water are just that deep wonderful blue, read Sparrow's "Frank Brangwyn" and you will soon discover, and the appreciation for the pictures will be increased tenfold.

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Now step down into the Cloister, so that you can see well Helios, the setting sun. This was the primitive man's idea of the setting sun. He saw the sun as a man holding a huge golden ball, splashing down into the waters of the west. The serpent represents the burning sting of the sun.

You are bound to reflect here that the sun has thrown off great nebulous masses and that one of those masses has cooled and that we now call it the Earth. Yonder it is, seen at the end of the fountain, with four streams of water, from prehistoric sea life, playing over it.

Pass along to the first group beyond Helios, realizing that Robt. Aitken, the sculptor, calls this "The Dawn of Life." From right to left are these figures:

1. The Hand of Destiny Giving Life. 2. The Prenatal Sleep of Woman. 3. The Awakening. 4. The Joy of Living. 5. The Kiss of Life. 6. The Bringing Forth of Life.

The elemental feelings are here suggested.

You will then notice a gap which stands for the unknown period of history after the first "Dawn of Life."

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Now pass to Panel 1 (facing Helios).

The central figure is Vanity, one of the compelling motives of that early life.

Following are two fine figures carrying their children, expressing the idea of the fecundity of the early races.

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A hermes divides this panel from the next. Since in classic times a herm, or hermes, was used to mark distances on the roads, so here the hermes is used to mark distances, or periods in time.

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