Part 3

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.