Chapter 1

This etext was produced by David A. Schwan <[email protected]>

The City of Domes

A Walk with an Architect About the Courts and Palaces of the Panama Pacific International ExposItion with a Discussion of Its Architecture - Its Sculpture - Its Mural Decorations Its Coloring - And Its Lighting - Preceded by a History of Its Growth

by John D. Barry

To the architects, the artists and the artisans and to the men of affairs who sustained them in the cooperative work that created an exposition of surpassing beauty, unique among the expositions of the world.

Contents

Chapter

Preface Introduction I. The View from the Hill II. The Approach III. In the South Gardens IV. Under the Tower of Jewels V. The Court of the Universe VI. On the Marina VII. Toward the Court of the Four Seasons VIII. The Court of the Four Seasons IX. The Palace of Fine Arts from across the Lagoon X. The Palace of Fine Arts at Close Range XI. At the Palace of Horticulture XII. The Half Courts XIII. Near Festival Hall XIV. The Palace of Machinery XV. The Court of the Ages XVI. The Brangwyns XVII. Watching the Lights Change XVIII. The Illuminating and the Reflections Features that Ought to he Noted by Day Features that Ought to be Noted by Night Index

Illustrations

"The Pioneer Mother" Design of the Exposition made in 1912 Site of the Exposition before Construction was Begun Fountain of Youth Fountain of El Dorado Court of the Universe "Air" and "Fire" "Nations of the West" and "Nations of the Fast "The Setting Sun" and "The Rising Sun" "Music" and "Dancing Girls "Hope and Her Attendants" Star Figure; Medallion Representing "Art" California Building Spanish Plateresque Doorway, in Northern Wall Eastern Entrance to Court of Four Seasons Night View of Court of Four Seasons Portal in Court of Four Seasons The Marina at Night Rotunda of the Palace of Fine Arts Altar of Palace of Fine Arts "The Power of the Arts" Italian Fountain, Dome of Philosophy "The Thinker" "Aspiration" "Michael Angelo" Italian Renaissance Towers "The End of the Trail" Colonnade in Court of Palms "Victorious Spirit" Entrance to Palace of Horticulture Night View of the Palace of Horticulture Festival Hall at Night "The Pioneer" Fountain of Beauty and the Beast Entrance to Palace of Varied Industries Group above Doorway of Palace of Varied Industries Avenue of Palms at Night Avenue of Progress at Night Arcaded Vestibule in Entrance to Palace of Machinery "Genii of Machinery" "The Genius of Creation" Tower in Court of the Ages Fountain of the Earth "The Stone Age" "Fruit Pickers" Entrance to Court of the Ages, at Night "The Triumph of Rome" "The Thirteenth Labor of Hercules"

Preface

In the main, this volume consists of articles originally published in the San Francisco BULLETIN. It includes material gathered from many visits to the Exposition grounds and from many talks with men concerned in the organization and the building and ornamentation. The brief history that forms the Introduction gives an account of the development. For me, as, I presume, for most people, the thing done, no matter how interesting it may he, is never so interesting as the doing of the thing, the play of the forces behind. Even in the talk with the architect, where the finished Exposition itself is discussed, I have tried to keep in mind those forces, and wherever I could to indicate their play.

The dialogue form I have used for several reasons: it is easy to follow; it gives scope for more than one kind of opinion; and it deals with the subject as we all do, when with one friend or more than one we visit the Exposition grounds. It has been my good fortune to he able to see the Exposition from points of view very different from my own and much better informed and equipped. I am glad to pass on the advantage.

The Exposition is generally acknowledged to be an achievement unprecedented. Merely to write about it and to try to convey a sense of its quality is a privilege. I have valued it all the more because I know that many people, not trained in matters of architecture and art, are striving to relate themselves to the expression here, to understand it and to feel it in all its hearings. If, at times, directly or in indirectly, I have been critical, the reason is that I wished, in so far as I could, to persuade visitors not to swallow the Exposition whole, but to think about it for themselves, and to bear in mind that the men behind it, those of today and those of days remote, were human beings exactly like themselves, and to draw from it all they could in the way of genuine benefit.

Though the volume is mainly devoted to the artistic features associated with the courts and the main palaces, I have included, among the illustrations, pictures of the California Building, both because of its close relation to California and because it is in itself magnificent, and of two notable art features, the mural painting by Bianca in the Italian Building, and "The Thinker", by Rodin, in the court of the French Pavilion.

Introduction

The First Steps

In January, 1904, R. B. Hale of San Francisco wrote to his fellow-directors of the Merchants' Association, that, in 1915, San Francisco ought to hold an exposition to celebrate the opening of the Panama Canal. In the financing of the St. Louis Exposition, soon to begin, Mr. Hale found a model for his plan. Five million dollars should be raised by popular subscription, five million dollars should be asked from the State, and five million dollars should be provided by city bonds.

The idea was promptly endorsed by the business associations.

From their chairmen was formed a board of governors. It was decided that the exposition should be held, and formal notification was given to the world by introducing into Congress a bill that provided for an appropriation of five million dollars. The bill was not acted on, and it was allowed to die at the end of the session.

Soon after formulating the plan for the exposition Mr. Hale changed the date from, 1915 to 1913, to make it coincide with the four hundredth anniversary of the discovery by Balboa of the Pacific.

In 1906 came the earthquake and fire. The next few years San Franciscans were busy clearing away the debris and rebuilding. It was predicted that the city might recover in ten years, and might not recover in less than twenty-five years.

Nevertheless, in December, 1906, within nine months of the disaster, a meeting was held in the shack that served for the St. Francis Hotel, and the Pacific Ocean Exposition Company was incorporated.

In three years the city recovered sufficiently to hold a week's festival, the Portola, and to make it a success.

Two days afterward, in October, 1909, Mr. Hale gave a dinner to a small group of business men, and told of what had been done toward preparing for the Exposition. They agreed to help.

Shortly afterward a meeting was held at the Merchants' Exchange. It was decided that an effort should at once be made to raise the money and to rouse the people of San Francisco to the importance of the project of holding the Panama-Pacific International Exposition in San Francisco in 1915.

As many as twenty-five hundred letters were sent to business men, asking if they favored the idea of holding an exposition. Out of about eight hundred replies only seven were opposed. Presently there were signs of enthusiasm, reflected in the newspapers.

A committee of six representative business men was appointed and the announcement was made that the committee should be glad to hear from anyone in the city who had suggestions or grievances. It was determined that every San Franciscan should have his day in court.

Later the committee of six appointed a foundation committee of two hundred, representing a wide variety of interests.

The committee of two hundred chose a committee of three from outside their number.

The committee of three chose from among the two hundred a directorate of thirty. The thirty became the directorate of a new corporation, made in 1910, the Panama-Pacific International Exposition Company.

Financing

The Panama-Pacific Company two local millionaires, W. H. Crocker and W. B. Bourn, started financially with twenty-five thousand dollars each. They established the maximum individual subscription. They also secured forty subscriptions of twenty-five thousand dollars each. Then followed the call for a mass meeting. Before the meeting was held the business men of the city were thoroughly canvassed. The Southern Pacific and the Union Pacific together subscribed two hundred and fifty thousand dollars. There were many other large subscriptions from public-service organizations.

On the afternoon of the meeting there was a crowd in the Merchants' Exchange Board Room. The announcement of the subscriptions created enthusiasm. In two hours the amount ran up to more than four million dollars. During the next few years they were increased to about $6,500,000.

Meanwhile, the State voted a tax levy of five million dollars, and San Francisco voted a bond and issue of the same amount, and by an act of the Legislature, in special session, the counties were authorized to levy a small tax for county Participation, amounting, in estimate, to about three million dollars.

Recognition From Congress

Next came the task of securing from Congress official recognition of San Francisco as the site of the International Exposition in celebration of the Panama Canal.

Headquarters were established in Washington. Presently serious opposition developed. Emissaries went from San Francisco to Washington singly and in delegations. Stress was laid on San Francisco's purpose not to ask for an appropriation from the national government. There were several cities in competition - Boston, Washington, Baltimore and New Orleans. New Orleans proved the most formidable rival. It relied on the strength of of a united Democracy and of the solid South.

In the hearings before the Congressional Committee it was made plain that the decision would go to the city with the best financial showing. As soon as the decision was announced New Orleans entered into generous cooperation with San Francisco.

The Exposition was on the way.

Naming the President.

The offer of the presidency of the Exposition Company was made to a well-known business man of San Francisco, C. C. Moore. Besides being able and energetic, he was agreeable to the factions created by the graft prosecution of a half dozen years before. Like the board of directors, he was to serve without salary. He stipulated that in the conduct of the work there should be no patronage. With the directors he entered into an a agreement that all appointments should be made for merit alone.

Choosing the Site

The choice of site was difficult. The sites most favored were Lake Merced, Golden Gate Park and Harbor View. Lake Merced was opposed as inaccessible for the transportation both of building materials and of people, and, through its inland position, as an unwise choice for an Exposition on the Pacific Coast, in its nature supposed to be maritime. The use of the park, it was argued, would desecrate the peoples recreation ground and entail a heavy cost in leveling and in restoring.

Harbor View and the Presidio had several advantages. It was level. It was within two miles or walking distance of nearly half the city's inhabitants. It stood on the bay, close to the Golden Gate, facing one of the most beautiful harbors in the world, looking across to Mount Tamalpias and backed by the highest San Francisco hills. Of all the proposed sites, it was the most convenient for landing material by water, for arranging the buildings and for maintaining sanitary conditions.

After a somewhat bitter public controversy the Exposition directors, in July, 1911, announced a decision. It caused general surprise. There should be three sites: Harbor View and a strip of the adjoining Presidio, Golden Gate Park and Lincoln Park, connected by a boulevard, specially constructed to skirt the bay from the ferry to the ocean.

That plan proved to be somewhat romantic. The boulevard alone, it was estimated, would cost eighteen million dollars.

Harris D. H. Connick, the assistant city engineer was called on as a representative of the Board of Public Works, and asked to make a preliminary survey of Harbor View. He showed that, of the proposed sites, Harbor View would be the most economical. The cost of transporting lumber would be greatly reduced by having it all come through the Golden Gate and deposited on the Harbor View docks. The expense of filling in the small ponds there would be slight in comparison with the expense of leveling the ground at the park.

A few weeks later Harbor View and the Presidia was definitely decided on as the site, and the only site.

For months agents had been at work securing options on leases of property in Harbor View, covering a little more than three hundred acres, the leases to run into December 1915. Reasonable terms were offered and in one instance only was there resort to condemnation. The suit that followed forced the property owner, who had refused fifteen hundred dollars, to take nine hundred dollars. President Moore was tempted to pay the fifteen hundred dollars, but he decided that this course would only encourage other property owners to be extortionate. Some trouble was experienced with the Vanderbilt properties, part of which happened to be under water. After considerable negotiating and appeals to the public spirit of the owners, it was adjusted. About seven hundred thousand dollars was paid for leases and about three hundred thousand dollars for property bought outright.

The Director of Works

While President Moore was looking for the man he wanted to appoint as head of the board of construction, Harris D. H. Connick called to suggest and to recommend another man. Later the president offered Connick the position as director of works.

Connick had exactly the qualifications needed: experience, youth, energy, skill and executive ability. He hesitated for the reason that he happened to be engaged in public work that he wished to finish. But he was made to see that the new work was more important. He removed all the buildings at Harbor View, about 150, and he filled in the ponds, using two million cubic yards of mud and sand, and building an elaborate system of sewers. The filling in took about six months. On the last day mules were at work on the new land. And within a year the ground work and the underground work was finished.

The Architects

Meanwhile, President Moore asked for a meeting of the San Francisco Chapter of the American Institute of Architects, with more than 250 members. He explained that his purpose was to have them, select twelve representatives from whom he should himself appoint five to act as an architectural board. When the board was formed with Willis Polk at its head, it included John Galen Howard, Albert Pissis, William Curlett, and Clarence R. Ward. This board was dissolved and an executive council composed of Polk, Ward and W. B. Faville was put in charge. Later it gave way to a commission consisting of W. B. Faville, Arthur Brown, George W. Kelham, Louis Christian Mullgardt, and Clarence R. Ward, of San Francisco; Robert Farquhar, of Los Angeles; Carrere & Hastings, McKim, Mead & White, and Henry Bacon, of New York, When it had completed the preliminary plans the board discontinued its meetings and G. W. Kelham was appointed Chief of Architecture.

The Block Plan

At the first meeting President Moore explained that, at the St. Louis Exposition, according to wide-expressed opinions, the buildings had been too far apart. He favored maximum of space with minimum of distance. The architects first considered the conditions they had to meet, climate and physical surroundings. They were mainly influenced by wind, cold and rain.

The result was that for the Protection of visitors, they agreed to follow what was later to be generally known, as the block plan, the buildings arranged in, four blocks, joined by covered corridors and surrounded by a wall, with three central courts and two half-courts in the south wall. It had been developed in many talks among the architects. Valuable suggestions came from Willis Polk and from E. H. Bennett, of Chicago, active in the earlier consultations. The plan finally accepted was the joint work of the entire commission.

Twelve buildings were put under contract, each designed to illustrate an epoch of architecture, ranging from the severity of the early classic to the ornate French renaissance of to-day.

The Architecture

From the start it was realized that, vast as the Exposition was to be, representing styles of architecture almost sensationally different, it must nevertheless suggest that it was all of a piece. The relation of San Francisco to the Orient provided the clue. It was fitting that on the shores of San Francisco Bay, where ships to and from the Orient were continually plying, there should rise an Oriental city. The idea had a special appeal in providing a reason for extensive color effects. The bay, in spite of the California sunshine, somewhat bleak, needed to be helped out with color. The use of color by the Orientals had abundantly justified itself as an integral part of architecture. The Greeks and the Romans had accepted it and applied it even in their statuary. It was, moreover, associated with those Spanish and Mexican buildings characteristic of the early days of California history.

The General Arrangement

The general arrangement of the Exposition presented no great difficulties. The lay of the land helped. Interest, of course, had to center in the palaces and the Festival Hall, with their opportunities for architectural display. They naturally took the middle ground. And, of course, they had to be near the State buildings and the foreign pavilions. The amusement concessions, it was felt, ought to be in a district by themselves, at one end. Equally sequestered should be the livestock exhibit and the aviation field and the race track, which were properly placed at the opposite end. There would undoubtedly be many visitors concerned chiefly, if not wholly, with the central buildings. If they chose, they could visit this section without going near the other sections, carrying away in their minds memories of a city ideal in outline and in coloring.

Construction

As soon as the plans were decided on, the architects divided the work and separated. Those who had come from a distance went home and in a few months submitted their designs in detail. A few months later they returned to San Francisco and the meetings of the architectural board were resumed. Soon the modifications were made and the practical construction was ready to begin. Incidentally there were compromises and heartburnings. But limitations of funds had to be considered. Finally came the question of the tower, giving what the architects called "the big accent." There were those who favored the north side for the location. Others favored the south side. After considerable discussion the south side was chosen. At one of the meetings, Thomas Hastings did quick work with his pencil, outlining his idea of what the tower should be. Later, he submitted an elaborate plan. It was rejected. A second plan was rejected, too. The third was accepted. It cost five hundred thousand dollars.

Designs for two magnificent gateways, to be erected at the approaches to the Court of the Ages and the Court of the Four Seasons were considered. They had to be given up to save expense.

Clearing The Land

The task of clearing the land was finished in a few months. In addition to the government reserve, the Exposition had seventy-six city blocks. They represented two hundred parcels of land, with 175 owners, and contained four hundred dwellings, barns and improvements. Most of the buildings were torn down. A few were used elsewhere. Precautions were taken to re-enforce with piles the foundations of the buildings and of the heavy exhibits.

The director of works became responsible for the purchase of all the lumber to be used in building. It was bought wholesale, shipped from the sawmills and delivered to the sites. So there was a big saving here, through the buying in bulk and through reduced cost in handling and hauling. The first contracts given out were for the construction of the palaces. An estimate was made of the exact number of feet available for exhibits and charts were prepared to keep a close record on the progress of the work. Incidentally, other means of watching progress consisted of the amounts paid out each month. During the earlier months the expenditures went on at the rate of a million a month. Every three weeks a contract for a building would be given out. The same contractors figured on each building. From the start it was understood that the work should be done by union men. The chief exceptions were the Chinese and the Japanese. The exhibitors had the privilege of bringing their own men. In all about five thousand men were employed, working either eight or nine hours a day. During the progress of the work there were few labor troubles.

One wise feature of the planning lay in the economy of space. It succeeded in reaching a compactness that made for convenience without leading to overcrowding. Great as this Exposition was to be, in its range worthy to be included among the expositions of the first class, it should not weary the visitors by making them walk long distances from point to point. In spite of its magnitude, it should have a kind of intimacy.

Choice of Material

There were certain dangers that the builders of the Exposition had to face. One of the most serious was that buildings erected for temporary use only might look tawdry. It was, of course, impracticable to use stone. The cost would have been prohibitive, and plaster might have made the gorgeous palaces hardly more than cheap mockeries.

Under the circumstances it was felt that some new material must be devised to meet the requirements. Already Paul E. Denneville had been successful in working with material made in imitation of Travertine marble, used in many of the ancient buildings of Rome, very beautiful in texture and peculiarly suited to the kind of building that needed color. He it was who had used the material in the Pennsylvania Station, New York, in the upper part of the walls. After a good deal of experimenting Denneville had found that for his purpose gypsum rock was most serviceable. On being ground and colored it could be used as a plaster and made to seem in texture so close to Travertine marble as to be almost indistinguishable. The results perfectly justified his faith. As the palaces rose from the ground, making a magnificent walled city, they looked solid and they looked old and they had distinct character. Moreover, through having the color in the texture, they would not show broken and ragged surfaces.

The Color Scheme

For the color-effects it was felt that just the right man must be found or the result would be disastrous. The choice fell on Jules Guerin, long accepted as one of the finest colorists among the painters of his time. He followed the guidance of the natural conditions surrounding the Exposition, the hues of the sky and the bay, of the mountains, varying from deep green to tawny yellow, and of the morning and evening light. And he worked, too, with an eye on those effects of illumination that should make the scene fairyland by night, utilizing even the tones of the fog.

The Planting