Chapter 10

"The Elements," reclining figures at head of main stairs leading down to sunken gardens by Robert Aitken, of New York. In size and treatment, suggestive of Michael Angelo. Northeast, "Water," riding a wave, with his trident in one hand, sea weed in the other. Northwest, "Fire," a Greek warrior lies in agony, grasping fire and lightning, with Phoenix, bird of flame, at back, and the salamander, reptile of fire, under his right leg. Southeast, "Earth," a woman leaning against a tree, apparently sleeping; at back two human figures struggle to uproot tree, symbol of man's war with nature. Southwest "Air" woman holding star to ear; birds, symbol of air; Icarus, mythological aviator who fell into sea, tied to wings of woman, typifying man's effort to conquer the air.

Small lion fountains below "The Elements," by McKim, Mead & White.

Bandstand, Arabic; picturesque, but inharmonious; obstructs view through entrance court.

Four tigers at base of bandstand, facing pool; decorative.

Court leading from gardens to Column of Progress. Designs repeated in frieze and in jeweled lamps of shell design, McKim, Mead & White; fine detail.

Colonnades on either side of court leading to Marina. Large Roman hanging lamps. Stars in ceilings. Beauty in design, coloring and sweep of corridor.

Frieze around main doorway in colonnades, bird and conventionalized foliage; skilfully designed.

On the Marina

View from Marina: Extreme right, Berkeley and Oakland; in center of bay, Alcatraz Island, like a white citadel; left of Alcatraz, Angel Island; left of Angel Island, Belvedere; left, Marin County, including Sausalito and Mount Tamalpais, with military reservation facing the Golden Gate and looking across to the large military reservation, Presidio.

Column of Progress, celebrating the Progress of Man. Preliminary sketch by Calder. W. Symmes Richardson, architect. Reliefs at base, by Isidore Konti, of New York. Surmounting statue, by Hermon A. MacNeil, of New York.

Tablets on four sides of base, in commemoration of aerial advancement. To the west, the scientific phase, a tribute to Langley, who first solved the problem of flying. To the north, aerial achievement. To the east, aerial organization. To the south, history of flying.

Frieze at base on four sides celebrates beginning of progress. On south front, two women holding palm branches, symbol of victory, call mankind to achievement.

Wreath at base of column, reward of achievement.

Top of pedestal, ornamental garland, with figure of Sphinx at corners.

Spiral, winding around column, with ships in full sail, suggestive of upward progress of world. Similar spiral on Column of Trajan and Column of Marcus Aurelius, in Rome.

Circular frieze sustaining main group at top, "The Burden Bearers," by MacNeil.

Group on top, "The Adventurous Bowman," the Superman, representing moment of attainment. Three figures, the dominating male, with the male supporter steadying his arm, and the devoted woman ready to crown him with laurel.

First use of this kind of column for an idealistic conception. Prototypes of this column, like Trajan's Column, but to celebrate some warlike figure or feat.

Best place to view column, from north, near California Building.

Esplanade, straight northern wall, broken by Court of Four Seasons, Court of the Universe, and Court of the Ages. Northern facades of all four buildings, ornate doors in duplicate of Spanish plateresque doorways.

Main doorways, rich detail. Statues in niches, by Allen Newman, of New York. Center, "Conquistador," sixteenth century Spanish adventurer. Figure on either side in duplicate, Newman's "Pirate," who preyed on shore commerce of South America. Humorous touch in bowlegs.

Magnificent view from Marina of San Francisco back of the Tower Of Jewels. Like a painting by Cezanne.

Approaching the Court of Four Seasons From the Court of the Universe

Venetian Court.

Palaces on sides of court; to the north, Agriculture; to the south, Liberal Arts.

Quotation on Arch of Setting Sun, facing Venetian Court, chosen by Garnett. Panels from left to right: "The world is in its most excellent state when justice is supreme," from Dante, the Italian poet; "It is absolutely indispensable for the United States to effect a passage from the Mexican Gulf to the Pacific Ocean, and I am certain that they will do it. Would that I might live to see it. But I shall not," from Goethe, the German poet; "The Universe, an infinite sphere, the center everywhere, the circumference no where," from Pascal, the French philosopher.

Italian Renaissance architecture.

Colors rich and well harmonized; pink and green.

Picturesque lattice work in small doorways.

Lighting standards, by Faville.

Goats' heads at top of standards, just below the globe.

Arches on sides, coupled Corinthian columns. Endeavor to make them more interesting than formal type of fluted columns. Four designs. They add to richness of court.

Winged figures over arches, by Faville.

Blue medallions above arches, Faville. Italian adaptation of Byzantine, Ship of State, the Bison, the Twins holding garlands representing abundance, the horn of plenty and cadeucus, and tree.

Coloring under eaves, bright shades, blue and orange.

Planting, by McLaren, well-massed, in great profusion.

Court of Four Seasons

Court of Four Seasons, Henry Bacon, of New York, architect. Hadrian's Villa used as model for half-dome and columns in front of fountain. Italian Renaissance in feeling. Every detail in classic spirit. Gives impression of seclusion and peace.

Quotations on gateways chosen by Garnett. On the eastern gateway, "So forth issew'd the seasons of the yeare - first, lusty spring all dight in leaves and flowres - then came the jolly sommer being dight in a thin cassock coloured greene, then came the autumne all in yellow clad - lastly came winter cloathed all in frize, chattering his teeth for cold that did him chill," from "The Faerie Queene," by Edmund Spenser. On the western gateway, "For lasting happiness we turn our eyes to one alone, and she surrounds you now, great nature, refuge of the weary heart and only balm to breasts that have been bruised. She bath cool hands for every fevered brow and gentlest silence for the troubled soul," from "The Triumph of Bohemia," by George Sterling.

Palaces around court: northeast, Agriculture; northwest, Food Products; southwest, Education; southeast, Liberal Arts.

Emerald pool. Surrounded by shrubbery. No sculpture. Architectural term, a "black mirror." Fine reflections.

Planting, by McLaren, simple and effective. Trees, olive, acacia, eucalyptus, cypress, laurel. All foliage, grey-green; banner poles same color.

Banners, by Ryan; no heraldic designs.

Best view of court from between columns of Fountains of Spring or Autumn.

Bulls at sides, above entrance to north court, "Feast of the Sacrifice," by Albert Jaegers, of New York. Youth and maiden leading bulls to harvest festival, suggested by great garlands.

Roman eagles below bulls on four corners of north court.

Bull's head with festoons, skull motive, at base of corner pavilions at four corners of north court, Roman.

Lion's head around cornice, designed by the architect, modelled by artisans of Exposition.

Bulls' heads above cornices between festoons of flowers around court. Roman motive.

Statue above south dome, "Harvest," by Albert Jaegers. Seated figure with horn of plenty. Fruits and grains on either side.

"Abundance," statue repeated four times over each gateway, by August Jaegers.

Vases repeated twenty-four times on balustrade around court; simple design, in harmony with classic plan of court.

Wreaths above cornice around court, harvest motive, wheat and grape.

Figures in triangular spaces over three arches of each gateway, repeated. By August Jaegers. Harvest motive.

In ceiling of east and west arches, faint relief, terra-cotta effect, Greek designs; coloring, orange, faint greens, and browns.

Signs of zodiac on gateways, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces.

Half-dome to south, "Niche of Ceres." Rich coloring in vault, contrasted with light tones in arched section.

Figures on composite columns at right and left of half-dome, "Rain" and "Sunshine," Albert Jaegers. "Rain," a woman shielding head with mantle and holding shell; "Sunshine," woman shading head from sun with palm branch.

Capitals of columns of "Rain" and "Sunshine," agricultural figures, small harvesters. Modelled by Donnelly and Ricci after designs of the architect.

Pedestals at base of columns, agricultural scenes in low relief, modelled by Donnelly and Ricci after designs of the architect. Farmers going to work with women and children and dog.

In niches at corners of court, "Fountains of the Seasons," surmounted by statue groups representing seasons, Furio Piccirilli, of New York.

Delicate pink tinting of walls in niches, by Guerin, in imitation of pink marble.

Columns of colonnades, Ionic, with harvest suggestion in ears of corn hanging from capitals, flower at top.

Flower boxes, in walls of niches near top and at top; African dew plant hanging over edge; give note of age and break sharp outline of wall against sky, and contrast with color of background.

Southwest corner, "Spring," by Piccirilli. Young woman with floral garland, man adoring, Flora bringing flowers.

Northwest corner, "Summer," by Piccirilli. Group expresses fruition. Woman brings child to husband. Laborer with first sheaf from field.

Northeast corner, "Autumn," by Piccirilli. Young woman carrying wine jar, suggests fruitfulness. Harvest of fields and human race; one girl offers grapes, other a child.

Southeast corner, "Winter," by Piccirilli. Bare tree at back; laborer rests after tilling; one begins to sow, preparing for spring.

Murals in colonnades with fountains, by H. Milton Bancroft. Simple and obvious, in the pagan spirit.

Above doorway in southwest corner, Spring. "Spring" and "Seedtime."

Northwest corner, Summer. "Summer" and "Fruition."

Northeast corner, Autumn. "Autumn" and "Harvest."

Southeast corner, Winter. "Festivity" and "Winter."

Murals in half-dome to south, Bancroft. Coloring and arrangement of figures finer than in smaller panels.

On east wall under dome, "Art Crowned by Time." Father Time crowns Art; on one side, figures of Weaving, Jewelry Making, Glassmaking; on other Printing, Pottery, and Smithery.

"Man Receiving Instruction in Nature's Laws." Woman holds before a child a tablet inscribed "Laws of Nature." Nature's laws applied to Earth, Water, Fire, Love, Life, and Death.

North court, entrance to Court of Four Seasons. Wreaths, lion heads, bulls' beads, harvest design on capitals of columns, repeated.

"Ceres," by Miss Beatrice Evelyn Longman, goddess of agriculture, wreath of cereals and corn scepter. Figure conventional, prim and modish; flowing skirt.

Figures below "Ceres" on drum represent carefree nature. In deep relief. cameo-like. Figures of women, gracefully modeled, with garlands and tambourines.

Satyrs spout water into bowl of fountain.

Trees, yews in couples, on either side of walks and center of lawn; redwoods and eucalypti at sides of entrance to court.

Shiny-leaved dark green shrub, on borders in court, coprosma.

Mass of green, placed at end of court to hide Morro Castle. Deepens intimate note of court.

French lighting standards at north end of court, by Ryan and Denneville.

Aisle of Sunset

Aisle approaching the Palace of Fine Arts, leading from Court of Four Seasons, west to Administration Avenue, by Faville.

Central portal, Spanish Renaissance, with twisted Byzantine columns.

Globe above, symbolical of universal education.

Main sculptural group: "Education," by Gustave Gerlach, Weehawken, New Jersey. Tree of knowledge in background. Left, kindergarten stage. Center, half-grown children. Right, man working out problems for himself.

Below, open book of knowledge radiating light in all directions. Small figures draw aside curtains of darkness and ignorance. Hour-glass, "Time Flies." Crown, for seekers of knowledge.

Educational panels inlaid in wall over smaller entrances, by pupils of School of Sculpture of Beaux Arts Architects, and National Sculpture Society.

Woman teacher, by W. H. Peters.

Man teacher, by Cesare Stea.

"Victory," on gables of buildings, by Louis Ulrich, of New York; "Acroterium"; like "Victory of Samothrace."

Charm of green lattice-work in small doorways of palace.

Main doorway, Palace of Food Products, by Faville. Terra cotta effect on sides of door. Eagles above door, inspiration. Green lattice-work in doors.

Administration Avenue

West wall, magnificent; facing Palace of Fine Arts, broken by Aisle of Spring, and two large Roman half-domes in Palace of Food Products and Palace of Education.

Palaces facing avenue: from north to south, Food Products and Education; across lagoon, Fine Arts.

Greenery and niches in pink and blue prevent wall from being monotonous.

"Dome of Plenty," in Palace of Food Products, harmonizes with half-dome in Court of Four Seasons.

Fountain in dome; elaborate; Sienna design.

Man with oak wreath, repeated eight times above columns in portal representing strength, by Earl Cummings.

Great columns of imitation Sienna on either side of portal, surmounted by "Physical Vigor," by Ralph Stackpole.

Niches along wall, archaeological figures, by Charles Harley, of Philadelphia. "Triumph of the Field," man with harvest symbols, alternating with "Abundance," woman with horn of plenty.

Half-dome of Palace of Education, "Dome of Philosophy." Architecture as in "Dome of Plenty." Charm of background, ornamented ceiling, Corinthian columns with acanthus leaves.

Over doorways, beautiful use of stained glass.

Female figure repeated eight times above inner columns, by Albert Weinert; carries books; "Ex Libris," representing education.

Statue by Stackpole surmounting Sienna columns, reversed duplicate of figure before "Dome of Plenty," with different name, "Thought." Really represents vigorous man thinking.

Figures in niches repeated.

Roman fountain, "Dome of Philosophy," by Faville; simplest and one of the most beautiful of the fountains on grounds. Suggested by fountains in Sienna and Ravenna.

Palace of Fine Arts

Palace of Fine Arts, Bernard R. Maybeck, of San Francisco. Conception inspired by Boecklin's painting, "The Island of the Dead." Rotunda like Pantheon in Rome. Colonnade suggested by Gerome's "Chariot Race." Columns at end of colonnade, hint of Forum. Greek suggestion in Corinthian columns and fretwork and frieze around rotunda. Roof garden or pergola around edge of roof and the Egyptian red of wall gives Egyptian note. Suggestion of overgrown ruin; atmosphere of melancholy beauty. Originality of architectural design and treatment.

Curved hedge, obscuring view of floor of rotunda from opposite side of lagoon, by John McLaren. African dew plant, as in south hedge. Laurels and willows were originally planned to cover hedge and to reach to top of columns. Monterey cypress at north end of colonnade.

Kneeling figure on altar directly in front of rotunda, "Reverence," by Ralph Stackpole. Can be seen from across pool only.

Altar rock, planting grown down over edge gives effect of draped altar cloth.

Frieze on altar rock, below kneeling figure, by Bruno Louis Zimm, of New York. Represents "Source of Genius." In center, Genius; to left and right, mortals seeking to approach genius; lions guard the youth. Seen from across lagoon only.

Panels on exterior of rotunda just below dome, by Zimm, representing progress and influence of art.

Eastern panel, "Struggle for the Beautiful"; in center, Truth; at sides, Persistence and Strength, struggling with centaurs, symbols of materialism.

Panel to left, "Power of the Arts"; Genius taming Pegasus, inspiration in art; Wisdom inspiring Youth; Music with lyre; figures of Literature and Sculpture.

Panel to right, "Triumph of the Arts"; Apollo, patron of arts, in chariot; Fame, with olive branches; Ictinius, builder of Parthenon, leads procession of devotees.

Three panels, repeated on five sides of rotunda.

Decorative figure, man and woman alternating, between panels, repeated around rotunda.

Corinthian columns, ochre grouped with pale green ones; capitals of burnt orange.

Flower boxes by Ulric H. Ellerhusen; women at corners. Original plan was to have vines from boxes droop over, shoulders of women. Architect's purpose in attitude of women to suggest sadness of art.

Roman vases, eight or ten feet high around colonnade. Massive and graceful detail.

Sculpture Outside Fine Arts Palace Beginning at Northeast Corner of Lagoon

North of Lagoon

The Illustrious Obscure, by Robert Paine. (Fountain on island at north end of lagoon.)

Whaleman, by Bela L. Pratt.

Garden Group by Anna Coleman Ladd.

Dying Lion, by Paul Wayland Bartlett.

Garden Figure, Nymph, by Edmond T. Quinn.

Fragment of "Fountain of Time," by Lorado Taft. Representing the troubled generations.

Roadway to Right Before Entering Circle

Bird Fountain, by Caroline Risque.

The First Mother, by Victor S. Holm.

Circle at North End of Peristyle

Mother of the Dead, by C. S. Pietro. (Lagoon side of circle.)

Chief Justice Marshall, by Herbert Adams. (In walk.)

Destiny, by C. P. Dietsch.

Sundial, by Edward Berge.

Head of Lincoln, by A. A. Weinman.

Fountain Groups, by Anna Coleman Ladd. Sun-God and Python, Water Sprites, and Triton Babies. (To right.)

Sundial, by Gail Sherman Corbett.

Daughter of Pan, by R. Hinton Perry.

Boy Pan with Frog, by Clement J. Barnhorn,

Bondage, by Carl Augustus Heber. (Only feminist note in the grounds.)

Saki, Sundial, by Harriet W. Frishmuth. (In walk.)

Great Danes, by Anna Vaughan Hyatt.

Young Diana, by Janet Scudder.

Flower Urns, base of building along colonnade; Greek figures with garlands. Ulric H. Ellerhusen.

Wall of building facing colonnade, seventeen feet high. Acacia blooming there, suggesting over-growth, relieves severe lines of architecture. Broken by small doors, at corners decorated with spears. Doors suggest Greek design.

Corinthian columns and pilasters; harmony of color, smoked ivory and ochre, with shades of green in foliage.

Urns, on the wall on either side of the doorways and in the rotunda, designed by William G. Merchant. Suggested by urns in the Vatican, Rome.

North Peristyle (curved part colonnade north of rotunda).

Maiden of the Roman Campagna, by Albin Polasek. (To left.) Fountain: Duck baby, by Edith Barretto Parsons.

A Fawn's Toilet, by Attilio Piccirilli.

Apollo, by Haig Patigian. (To right.)

The Scalp, by Edward Berge. (To left.)

Primitive Man, by Olga Popoff Muller.

Youth, by Victor D. Salvatore. (To right.)

Soldier of Marathon, by Paul Noquet. (To left.)

Fountain: Fighting Boys, by Janet Scudder.

Garden Figure, by Edith Woodman Burroughs. (To right.)

L'Amour, by Evelyn Beatrice Longman. (To right.)

Returning from the Hunt, by John J. Boyle. (To left.)

Boy with Fish, by Bela L. Pratt. (To right.)

The Centaur, by Olga Popoff Muller.

The Sower, by Albin Polasek.

Beyond, by Chester Beach. (By main doorway.)

Aspiration, by Leo Lentelli. (Over main doorway.)

Pioneer Mother Monument, by Charles Grafly. (Before main doorway.)

Portrait of a Boy, by Albin Polasek. (Outside west archway.)

The Awakening, by Lindsey Morris Sterling. (Outside west archway.)

"Sculpture," relief on walls of west archway. Bela L. Pratt.

Rotunda, Entrance Through North Archway

William Cullen Bryant, by Herbert Adams. (At northwest archway.)

Lafayette, by Paul Weyland Bartlett. (Center of rotunda.)

The Young Franklin, by Robert Tait.

Princeton Student Memorial, by Daniel Chester French.

"Architecture," relief by Richard H. Recchia.

Commodore John Barry, by John J. Boyle.

"Architecture," relief by Richard H. Recchia.

Lincoln, by Daniel Chester French.

Thomas Jefferson, by Karl Bitter. (Outside southwest arch way.)

Murals in dome of rotunda, Robert Reid. Two series of paintings, four in each, "Birth and Influence of Art," alternating with "The Four Golds of California."

"Birth of Oriental Art," panel on west wall, toward main doorway. Man on dragon attacking eagle, heavenly bird of inspiration. China, man in bright robe. Japan, woman with parasol.

"Gold," panel to right, woman with wand; sits on horn of plenty pouring gold.

"Ideals of Art," panel to right. Greek ideal, nude. Religion Madonna and child. Heroism, Joan of Arc. Material youthful beauty, woman at left. Nature without inspiration or ideal, peacock. Figures with wreath and palm, rewards of art.

"Poppies," panel to right, second gold of California.

"Birth of European Art," panel to right. Altar with divine fire, guardian with torch. Mortal in chariot grasps torch of inspiration. Woman in lower corner with crystal globe, predicting future of art.

"Oranges," panel to right, third gold of California.

"Inspiration of Art," panel to right. Angels of inspiration above. Figures of Sculpture, Architecture, Painting, Music, and Poetry.

"Wheat," panel to right, fourth gold of California.

"Priestess of Culture," Herbert Adams, of New York; female figure surmounting columns within rotunda.

Coloring of dome, burnt orange, turquoise green, Sienna columns.

South Peristyle (curved colonnade).

Youth, by Charles Carey Rumsey. (To south of doorway.)

An Outcast, by Attilio Piccirilli. (To right.)

Idyl, by Olga Popoff Muller.

Dancing Nymph, by Olin L. Warner.

Boy and Frog, by Edward Berge. (To left.)

Eurydice, by Furio Piccirilli. (To right.)

Wild Flower, by Edward Berge.

Young Mother with Child, by Furio Piccirilli. (To right.)

Wood Nymph, by Isidore Konti.

Young Pan, by Janet Scudder, (To left.)

Michael Angelo, by Robert Aitken. (To right.)

Muse Finding the Head of Orpheus, by Edward Berge. (To left.)

Flying Cupid, by Janet Scudder.

Piping Pan, by Louis St. Gaudens.

Circle at South End of Peristyle

Bust of William Howard Taft, by Robert Aitken. (To right.)

Henry Ward Beecher, by John Quincy Adams Ward.

Bust of Halsey C. Ives, by Victor S. Holm. (To left.)

Seated Lincoln, by Augustus St. Gaudens.

South of Lagoon

Kirkpatrick Monument, by Gail Sherman Corbett, Indian pointing out spring to Jesuit priest. (To right on roadway running back of palace.)

American Bisons, by A. P. Proctor. (Sides of roadway.)

Peace, by Sherry E. Fry. (To left.)

Diana, by Haig Patigian.

Fountain: Wind and Spray, by Anna Coleman Ladd. (In lagoon, south end.)

The Scout, by Cyrus E. Dallin.

Sea Lions, by Frederick G. R. Roth.

Court of Palms

Court of Palms, by Kelham; opposite Palace of Horticulture, between Palaces of Education and Liberal Arts. Italian Renaissance. Sunken garden.

Palaces at sides of court: to the west, Education; to the east, Liberal Arts.

"The End of the Trail," equestrian statue at entrance, by James Earl Fraser. Exhausted Indian, suggests destiny of the American Indian race.

Italian Towers, Byzantine influence, by Kelham. Both sides of entrance to court; identical. Simpler than towers at Court of Flowers, to cast.

Coloring of towers, by Jules Guerin. Walls frankly treated, not as stone, but as plaster, after Italian method. Blue checkered border, pink and blue diaper design; turquoise columns on little towers above, in harmony with domes and columns of Tower of Jewels.

Design on top, repeated four times at corners, from choragic monument of Lysicrates, in Venice.

Sienna columns at entrances of towers. Effective contrast.

Reclining women, purely decorative, in triangular spaces above entrances to towers, by Albert Weinert.

Figures on side of shield over all portals, very graceful. Pink and turquoise.

"The Fairy," crowning Italian Towers, Carl Gruppe.

Female figures, the caryatides on wide frieze, above columns, by Calder and John Bateman, of New York. Flushed pink, against pink and blue background of imitation marble and terra cotta.