Part 5
All of its interior ichthyological features might have been anticipated even at the threshold of the building, with its rich and effective portals, where so many of these very forms are seen petrified in surface ornament. The building is in the form of a rectangular central structure with two octagonal annexes, each with its own beautiful portal, and connected to the main edifice by curved colonnades, with arch and balustrade--portal and pillar, capital, entablature and arch and panel--everywhere sculptured with ornaments whose themes are drawn from the subaqueous life to which the building is dedicated. The very balcony upon which we lean is supported by columns composed of four ingeniously and gracefully interlocked dolphins, while the pillars on right and left and throughout the entire exterior suggest curious geometric fossils from the deeps. Here a spiral procession of huge toads, whose uncouth shapes thus embodied in conventional ornament are singularly agreeable and effective. Each successive pillar is a study alike for the naturalist or designer--here a sinuous procession of river-horses (hippocampus), the incurved tail forming a volute repeated with pleasant effect in the spiral bands of ornament. Accommodating star-fishes embrace their respective pillars, touching points in geometric design. Here are eels and fishes meandering among bulrushes and arrowheads. Lizards, crabs, and turtles, each combine in effective ornament about their particular columns, which are surmounted by capitals of even greater ingenuity and effectiveness of design, perhaps because less geometric. Gaping frogs leaping among water-weeds; lobsters captive and sprawling in their wicker “pots;” fishes entangled in the meshes of nets, or engaged in mortal combat, their gaping mouths finely utilized in effective points of shadow--the modelling of each and all suggests the perfection of a cast from nature. To those who look for a happy blending of architectural purpose and harmonious ornament, this building will be a welcome innovation. To the naturalist or the idler in quest of the mere picturesque, the Fisheries Building with its wandering façade and colonnade, its roof of ruddy tiles and almost Moresque richness of surface ornament in high relief, will be found well worth careful study.
How many are the obvious natural themes yet awaiting their sculptured memorial in the temple of architecture. Must the classical and testy acanthus
forever guard that exalted basket unchallenged, and the antique, indeed almost palæontologic lotus forever keep us oblivious to the abounding wealth of natural suggestion of even surpassing opportunity? What a rare suggestion for a national architectural theme, for instance, has nature thus far wasted on the wilderness in that elk-horn fern of Australia, which forms one of the most conspicuous features of the arboreal exhibit of that land of tropic contradictions and zoölogical anomalies. Where can there be found another such ready-made and graceful model for a massive capital?
Had this remarkable plant chanced to have been a native of ancient Egypt or Rome or Greece, it is difficult to conceive of its having escaped being immortalized in stone. Will the future national architecture of Australia ever embody its opportunities? Here is a veritable capital of clustered fern-forms, springing in graceful relief from a solid sculptured base. In some of the examples shown it simply surrounds the trunk upon which it is a parasite, and in others, the architectural suggestion is heightened by the cluster appearing at the summit of its pillar, the dead continuation of the trunk above having fallen.
* * * * *
Superlative anticipation of our hopes is often disastrous to their full realization. But no such danger awaits the visitor to the Columbian Fair. The most extreme glorification of this superb achievement at Chicago still leaves us the superlative of actual experience.
Dull indeed must be the intelligence which fails to respond to the vision of beauty which the genius of architecture has here created. Whatever oblivion may await the other features of the Exposition, the fame of the architect is secure. Even though in their substance his creations here are but as the flowers of a day, to be cut down ere the coming of winter, their very evanescence constitutes their most abiding charm.
Though we may spend weeks in the enjoyment of the unexampled treasures within these walls, confusion will at length claim most of our minor reminiscences, and the winnowing process of the years will at last leave few tokens. But the glamour of this celestial city, this throng of ethereal palaces hovering between sky and sky, buoyant as with uplifting archangel wings from dome and pinnacle and acroteria--these will abide to the end of our days.
For whenever I stand on the bridge of the Peristyle and look across the Court of Honor, surrendering myself to the magic spell of its beauty, I cannot help yielding to the conviction that this noble quadrangle is surrounded by palaces of marble
which have taken centuries to perfect; that the grounds and walks, stretches of grass, masses of flowering plants, and bold colossal statues have all been added from time to time, as in other palace gardens of old, when opportunity or royal whim dictated; that this great city was built ages ago, long before the time of the Greeks, who modelled their own temples along their classic lines; and that not only were its builders the ablest and most learned men of all ages, but that their descendants, those who live beneath these roofs, are the wisest, the most cultured, and the most artistic men and women of their time.
To me, moreover, the City is never evanescent nor unreal; never like a house built upon the sands. It is, when I look at it in amazed delight, not only entirely genuine, but firm and solid as the marble which it resembles. It is too vast, and the elements of atmosphere, perspective and proportion, enter too largely into its _ensemble_ to make it appear other than genuine. When, for instance, you stand in Athens, near the Parthenon, and your eye falls on a broken column at your feet, you _see_ that it is marble, and you _know_ that it is heavy. But without this sample stone in the foreground, and your knowledge of the character and quality of the material, the whole temple is to you, from where you look, only a film of light, now ivory, now alabaster, now lost in purple shadows. Here, about the White City, there is no broken column as an eye test, there are only superb façades, reaching skyward, and great stretches of columns and arches, relieved by gilded domes and sculptured frieze. They are never close to you--no comprehensive view is possible nearer than two hundred feet, and who can tell “staff” from marble at that distance--but far away, across the shimmer of the Lagoon, or over the massing of foliage or clustered roofs.
There is, in addition to all this element of reality, a reality which every one must feel for himself, still another charm--an undefinable quality that constantly surprises and delights you. To this is united a majestic picturesqueness investing these superb palaces and royal gardens with a distinction never attained by any of their predecessors. This does not seem to be due so much to colossal proportions nor to the never-ending series of buildings piled one behind the other, as to the skill shown by architects
and landscape gardeners in the general plan. Especially is this charm felt in the absence of rectangular lines of construction; in the winding in and out of the lagoons; in the neglected fringing of untrimmed foliage skirting the water’s edge; in the half submerged bits of islands where the ducks plume their feathers; in the informal formality of great massing of plants; in the dotting of broad stretches of gray-green water with gay-colored gondolas; and in the colossal proportions of superb decorative statues, so that a glimpse of Venice can be caught between the forelegs of a huge sculptured bull, and the columns of a classic temple be outlined over the back of some water-sprayed mermaid.
It is easy while under the spell of this Ancient City to persuade myself that in this their festival year, these nobles who dwell here are holding high carnival, with much feasting and merry-making, and illuminations at night. That they have bidden all the nations of the earth to join them in these gracious festivities lasting many months; and that as an especial honor, and for the delight and entertainment of these distinguished guests, they have decreed that a great fair shall be held where may be seen many strange people from the uttermost parts of the earth, who, with barbaric dancing and weird music may depict the manners and customs of their climes. That this Fair of the Festival Year shall be placed, not within the lines of the Palaces but outside the walls of the Great City, at the end of a broad highway, rolled out like a huge carpet of many colors.
* * * * *
Rousing myself from these reveries, I bid Espero good-by, join the throng, follow through the gates and so out upon this broad highway, the Plaisance. My dreams are all true. Along the crowded thoroughfare move half the wild tribes of the earth--Javanese, Esquimaux, natives of the Soudan, Bedouins from beyond the Great Desert, Algerians, Arabs, Greeks, Armenians, Syrians, and Turks. Fringing each edge of this gay promenade I find the huts of the Javanese and Soudanese, the tents of the Bedouins and Arabs, and the more pretentious booths and structures of the Algerians and kindred people. Here, too, are the quaint gateways and open squares of old German and Austrian towns; the low-roofed, deftly constructed houses of the Japanese; the intricate carvings of India covering the booths, and, draping the doors of the Eastern bazaars the rich stuffs, rugs, and tapestries of the Orient.
Near the entrance to the Turkish village, tucked away on one side of the highway, just out of the rush of the never-ceasing throng, and yet close enough to be within call, rises the dome of a small Mosque. Above this a single, snow-white minaret shoots up into the blue.
When the sun is gone there leans from a tiny balcony high up on this needle of a minaret, a white-robed priest. Suddenly above the whirl and hurry there filters down through the soft twilight air the Muezzin’s call for prayer:
“La Ilah Ell-Allah Muhammed Rassoul Ell-Allah.”
To me there is nothing so simple, nothing so impressive, nothing so devout, as a Muhammedan standing in the presence of his God. There is a childlike faith, a manly trust, a sincere belief evinced and experienced by these believers, that never seems to predominate in any other form of religion.
How often, in a great cathedral, do you come upon a figure silently leaving the confessional, and catching a full view of the face, detect a lingering trace of sorrow, or anxiety, or doubt. But watch the faces of these Muhammedans, these poor sedan-chair carriers, and of that broad-shouldered Arab, who has been moving great boxes of unpacked goods on his back all day. How tired they all look as they enter the Mosque, bowing low with reverent awe, and prostrating themselves wearily to the pavement. It is as if each penitent had brought his very burden within these sacred precincts, supplicating for relief.
Now look, when the silent service is over, and study these same faces as, with a light-hearted spring, each man rises from his knees and with serene expression, and calm, restful eyes takes up once more the burden of his life.
This exquisite and picturesque little Mosque--it is the prototype of the purest bit of Eastern architecture in Stamboul--these thoroughly genuine people, this sacred service--not as a necessary part of the Oriental exhibit, but as an essential, indispensable part of the life of the natives themselves--this combination of the genuine and the picturesque is to me the true keynote of the Great Exposition.
II.
My old and valued friend, Far-away Moses:--What a superb old Shylock he is; not in the sense of “three thousand ducats and for three months,” but in the unique quality of the character itself! Neither Irving nor Booth ever conceived so fine and fitting a costume as this old man wears every day in and out of his bazaar, and along the streets of his transplanted village; a costume of soft material, with an under-vest delicately embroidered, the over-jacket a coat of brown camel’s-hair with dark red voluminous waist-sash and the wide Eastern skirts covering his still sturdy legs.
My old and valued friend, Far-away Moses, I say, invited me to dinner. I have enjoyed this especial privilege very often in his own bazaar in Stamboul, and the aroma of the Mocha and the soothing qualities of his Narghilehs have haunted me ever since. Now, thanks to his courtesy, I can enjoy them every day. There is nothing missing in the surroundings of his own bazaar here on the
Plaisance. The walls are hung with the wealth of the East. Divans are scattered about. On a low table, octagon-shaped and inlaid with mother-of-pearl and ivory, lie yataghans and Turkish arms, embossed with silver and enriched with quaint design. The light struggles in through the small windows and half defines the odd interior, quite as it does in his shop along the Bosphorus. I throw myself upon a pile of Eastern rugs and begin adjusting the pillows in true Oriental fashion.
The old man claps his hands, and instantly, as if rising through the rug itself, an attendant appears, receives an order in Turkish, and vanishes. Not a gentleman, if you please, in a soiled necktie, frayed shirt-front, and hired-by-the-month swallow-tail coat, but a swarthy Turk in gold-embroidered vest and the rest of it, who reappears in a flash with one of those exquisite squatty little tables that might serve in a baby house. Then more clapping of hands, and more Turks, one a gorgeous fellow in a solid gold jacket (the light is dim), under-vest of purple and silver, sash brilliant scarlet, and so on, down to his magnificent slippers of red morocco, very much turned up at the toes. And then an inlaid tray with two dainty little cups, mere thimbles, into which is poured from a long-handled brass pot, sizzling hot over a charcoal fire, two mouthfuls of fragrant Mocha. Then the Narghilehs, with their long flexible tubes, amber mouth-pieces, and the bits of burning coal, keeping alight the little heap of Turkish tobacco on the top of the slender caraffe-shaped glass.
We talk of the old days in Stamboul and of the morning we spent at the Bath, where I was parboiled and rubbed full of holes by two insufficiently clad Greeks; and then of the festival night at Saint Sophia when, as a member of his household, I entered the Sacred Mosque barefooted and befezzed. Later on a lighted lantern is brought in, and we follow another gorgeous slave into the mysteries of my host’s private apartments where a repast of kebabs and boiled rice is served.
After dinner other lights are fixed against the walls of an outer court, and a dozen or more of his retinue--Far-away and his _confrère_, Roberto Levy, count five hundred and fifty followers--with weird song and gesture, throw themselves with perfect abandon into one of their wild native dances.
This small army of the Faithful eat, sleep, and dress precisely as they do at home. The Bedouin women huddle in the dust outside their tents, baking their wafer-like bread over rounded pans covering heaps of live coals; the men smoke and lounge on the mats; the dancing-girls from Damascus and Syria, in the intervals of their stage work, shut themselves up in their curtain-closed rooms, attended only by their women.
They allow no difference in their surroundings or atmosphere; there is no hurry nor rush nor noise; only the indolent, lazy life of the East. Had the genie of the lamp been summoned from space to work these marvellous effects it could not have been better done.
But the picturesque does not end with the Turkish village, its mosques, bazaars, café, theatre, and attendants. Enter the gates leading to the little toy houses of the Javanese, and stop for a moment at one of the doors. Half a dozen of the dancing-girls are cuddled together in the middle of the floor. There is no light except through the open door. Some are smoking cigarettes. One is painting the eyebrows of a comrade, who in turn is combing the other’s hair. Two are stretched out on either side of the entrance lolling lazily. They smile courteously, and when one rises and trips away to the next miniature house, she drops you a slight deferential courtesy as she passes--not to attract your attention, but as challenging permission--to cross in front of you.
If you, an admirer of Western civilization, offer some one of its subjects a piece of silver, you receive either the customary gruff thanks or the incredulous stare. If you have doubts about the courtesy, the refinement, and the charm of the semi-barbarous East, try the same experiment on one of these little Javanese maidens, fully of age and yet hardly as tall as the curly haired daughter that you hold in your arms. When you tender her the coin she walks to where you stand without the slightest trace of either forwardness or timidity, drops on one knee--clasping the money in her right hand--crosses both arms over her bosom, places the piece on her head, and then bowing low, her face toward you, retraces her steps into the bungalow. With each gesture she intends some graceful service--she is your slave--her heart is always true, her head in subjection. It is only her way of saying thank you--this poor little half-clad, half-civilized, Javanese maid; but it is so gracefully, so charmingly done, it is so naïve and sincere, that if you leave the door of her hut with a cent in your pocket you should be sentenced to spend a month in her village to learn better manners.
As you are still in search of the picturesque, follow that barefooted Arab with fez and long yellow gown, who has just saluted with such respect and humility Roberto Levy (chief commissioner of all these Muhammedan people), touching his heart and lips and forehead after the manner of his race. He has some complaint to make or grievance to right. You note that the man enters a gate farther down
on the Plaisance, above which you catch the minaret of another mosque, overlooking “A Street in Cairo.” Later on you discover that this barefooted Arab drives a camel along this tortuous thoroughfare.
Here again the quality of the picturesque is inseparably joined to the quality of the genuine. The street itself is a fair reproduction of the original, with its overhanging latticed windows, iron gratings and decorations; but the motley crowd that throngs through its crookedness is the native element itself. Camels with the dust of the desert ground into their scarred hides, every knot in the harness a guarantee of long service; donkeys and donkey boys; women closely veiled or wearing the _burgi_--a wooden spool bound over the nose, with a heavy fringe of black thread falling below the chin; rows of idlers in dirty garments sprawled along the edges of the houses hugging the shade; Nubians, black as ink, in white burnoose and long gowns; pedlers, street venders in odd Eastern costumes, and scattered throughout the curious throng the man from Maine and the gentleman from Texas.
Everywhere you find the same element of the picturesque, everywhere is evident the same quality of the genuine. To accomplish these results space and time seem to have been annihilated.
“It is I who went up into the Soudan country and brought out this family, come in and see,” says a dark, black-bearded man, who might have the blood of all the races of the East in his veins.
I thrust my head and shoulder through a narrow slit in the hut, shaped like an inverted teacup, and am confronted by a girl wearing a single garment of coarse cotton cloth, such as would cover a sack of salt. Behind her, squatting on the earth-floor, sit her husband and father, beating rude drums covered with skins. The girl instantly advances, lifts up her face and gazing into mine with half-closed eyes, gives herself up with slow movement of her feet to that peculiar spell which seems to possess all Eastern women when under the influence of the dance. The inmates are all uncleanly, unkempt, and, but for the earnest face and fawn-like eyes of the Soudanese girl-wife, forbidding and repulsive. Of one thing, however, you are sure: had you wandered into the heart of their country and entered any one of their huts, you would have found the exact counterpart of what is before you now.