Chapter 11

Festoons of fruit in panels, blues and reds.

Coupled Ionic columns, smoked. Effective against pink walls.

Vases, before entrances, by Weinert. Bacchanalian revels, low relief. Satyr handles.

Lighting standards on balustrade, designed by Ryan, modeled by Denneville.

"Pool of Reflections," no sculpture.

Italian cypresses, on sides of portals.

Balled acacias between columns on corridors.

Palms, in garden.

Corridors, pink walls, blue ceiling.

Lamp standards, smoked ivory globes. Designed by Kelham, modeled by Denneville.

Lamps in corridors Roman, hanging. Light pink, green, and cream; effective. By Kelham.

Murals, in corridors, at east, north, and west portals.

"Pursuit of Pleasure," east arch, Charles W. Holloway. Light touch, bright reds and blues in keeping with court; difficult use of floating figure.

"Victorious Spirit," north arch, Arthur F. Mathews. Spirit of Enlightenment protecting Youth from Materialism, symbolized by rampant horse and the rider, Brute Force. Arrangement good, coloring deep and beautiful.

"Fruits and Flowers," west arch, Childe Hassam. Early Italian.

Symbolism, obvious. Warmth of color.

Vista from south, graceful curve of court, view through north portal through Court of the Four Seasons, long colonnade, to purple bills and bay beyond.

Palace of Horticulture

Palace of Horticulture, Bakewell & Brown, architects, San Francisco.

Architecture dome and spires Byzantine, suggest mosque of Ahmed the First, in Constantinople. Ornamentation Renaissance, popular with modern French architects.

Basket on top of dome, 33 feet in diameter.

Dome, 186 feet in height, 152 feet in diameter steel construction St. Peter's, 137 feet, concrete. Pantheon, 142 feet, concrete.

Ornamental shafts, suggestive of minarets, in French style.

Semi-circular colonnade forming entrances, French lattice-work.

Hanging lamp, in entrances, flower basket design; elaborate.

Lamps, hanging along porches, simple design.

Female figures at base of spires, by Eugene Louis Boutier; purely ornamental.

Lavish decorations on building suggest variety and abundance of California horticulture. Floral designs; green wreaths with fruit motives and leaves; lamps; flowered shields over doorway; decorated columns; entrance under green lattice-work; great ornamental vases on sides.

Female figures used as columns supporting roof of porch, the caryatides, by John Bateman.

Building suggests festivity, done in exposition spirit.

Coloring, green, old copper. Green lattice-work in domes.

Along the South Wall, West of the Tower of Jewels

South Wall, by Faville. Spanish Renaissance. Domes, Byzantine.

Palaces facing Avenue of Palms, from west to east: Education, Palace Liberal Arts, Manufactures, and Varied Industries.

Vases beside doorways of Palace of Education, finely designed; pedestal of one, a Corinthian capital; of the other, an Ionic capital.

Main portals, Faville. Suggest Roman gateway. Coloring, pink, turquoise blue, and burnt orange; accentuates sculpture. Duplicated on Palaces of Manufactures and Liberal Arts.

Panel over doorway, by Mahonri Young, Ogden, Utah; figures of domestic life and industries, making of glass, metal work, statuary, textiles. Figures at side, to left, woman with spindle; to right, man with sledge-hammer.

Flat columns at side of portals, pilasters. Corinthian.

Lion, over centerpiece of arch.

"Victory," on gables by Louis Ulrich, like the winged figure used by the Greeks, " Blessings on this house."

Niches in wall, colored pink and blue. Heads of lions and elephants used as fountains, alternately by Faville.

Panel over niches, figures with garland, by Faville.

Festival Hall

Festival Hall, Robert Farquhar, of Los Angeles, architect. Modern French architecture, of the Beaux Arts style, Paris. Used in many French theatres; not a natural growth in this country, but growing in favor; building arrangement fine. Details from Le Petit and Le Grand Trianon. Coloring. light green, not so effective as on Horticultural Palace, popular with French architects.

Figure on corner domes, "The Torch Bearer," Sherry F. Fry, of New York.

Figures on sides of shield over big central arch, by Fry. Decorative. West entrance.

Reclining figures, above, on sides of entrance, by Fry. To right, Bacchus with grapes and wine-skin. To left, a woman listening.

Groups in front of ball, on sides of stairway, by Fry. "Flora," flower girl on pedestal, repeated. On left below pedestal, "Young Pan," seated on Ionic capital covered with fawn skin, his music arrested by sight of lizard. On right, young girl seated.

Greek drinking horns, rhytons, repeated around entrance, on cornice, suggest festivity.

Symbol of Music, the lyre, above entrance.

Recital Hall, on the second floor of Festival Hall, eastern end, contains fine stained glass windows. Designer and executor, Charles J. Connick, of Boston. Three windows, a small one or, the landing of the north stairway, and two larger ones on the west wall of the hall itself.

On the stairway. Figure of a young monk bearing a scroll inscribed with "Venite exultamus domin" ("Come, let us exalt the Lord").

In the hall, window to the left. In the large tipper section, a figure of St. Martha of Bethany. Below, Christ and three women, one kneeling.

In the hall, window to the right. In the large tipper section, figures of two men, the wise men, one watching the star, one seated reading; an owl and a lantern in the window also. In the small section below, a ship with a cross on the main sail; the cross is of the design used in the Crusades.

Court of Flowers

Court of Flowers, by Kelham. Italian Renaissance, Byzantine touches. Opposite Festival Hall, between Palaces of Varied Industries and Mines. Details different from Court of Palms; ornament richer.

Figure on tower, "The Fairy," by Carl Gruppe.

Palaces at sides of court: to the west, Manufactures; to the east, Varied Industries.

Italian towers, by Kelham, same feeling. Outlines on top different from those in Court of Palms.

"The American Pioneer," equestrian statue at entrance, by Solon Borglum, of New York. Patriarchal. Suggests Joaquin Miller. Warlike trappings of horse picturesque, but sixteenth century Spanish, out of place.

Spanish loggia around second story of court, southern in feeling, implying warm climate.

"Oriental Flower Girl," female figure in niches along loggia, by Calder.

Griffons around frieze on top of columns.

Corridors, pink walls, smoked olive columns with orange capitals.

Against wall, Corinthian coupled pilasters.

Roman banging lamps, by Kelham, suggest bronze, great weight. Bronze, pink, green, and cream. Italian bronze lanterns suggest blue eucalyptus.

Lamp standards between columns, globe half concealed, by Kelham. Charm of effect, improvement on those with globe wholly visible.

Conventionalized lions in pairs at portals, by Albert Laessle, of Philadelphia.

Fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco. Sandals and hat on woman. Beast at her feet. Fauns and satyrs, piping, under circular bowl. Frieze outside edge of bowl, lion, bear, ape, and tiger repeated; playful. Designed for Court of Palms to be seen from above.

Lophantha trees, trimmed four feet from ground, branching out six feet across, along walks.

Vista through fairy-like Court of the Ages to Florentine Tower and blue sky beyond, from south entrance of Court of Flowers.

Along the South Wall, East of Tower of Jewels

Palaces facing Avenue of Palms, from east to west: Varied Industries, Manufactures, Liberal Arts, Education.

South facade of Palace of Varied Industries, by Faville. High walls, seventy feet in height, suggest eighteenth century California missions.

Green domes on corners, Byzantine, inspired by mosques of Constantinople.

Coloring of flags, cerulean blue, pastel red, and burnt orange.

Windows in corners, mosque design. Little hexagonal kiosks at corners below domes, Moorish.

Central portal, after portal of Santa Cruz Hospital, in Toledo, Spain. Sixteenth century Spanish Renaissance, plateresque. Lattice-work effect in doorway in harmony with lace-like silver-platter style. Niche walls pink, with ultramarine blue.

Pope Calixtus III sent for a Spanish goldsmith, Diaz, to do work for him in Rome. Diaz returned to Spain, carrying the influence of the Italian Renaissance. He met the son of the architect of the cathedral at Toledo, De Egas. To the son he imparted his knowledge and the son applied it to architecture, creating the plateresque style. Till then all Spanish cathedrals had shown the Gothic influence from the north.

Figures on large door by Stackpole. Upper figures, "Age Transferring His Burden to Youth," America. Figure in center piece of arch, "Power of Industry," the American workman. Figures in half circle above door, "Varied Industries," from left to right, Spinning, Building, Agriculture, Manual Labor, and Commerce. Figure repeated four times in lower niches, "Man with the Pick."

"California Bear" and "California Shield" on buttresses, or square columns supporting wall. Used in old mission buildings.

Avenue of Progress

Planting, some of the best landscape effects in Exposition. Against buildings, Monterey cypress; banked by Lawson cypress in front and between these, spruces and Spanish fir.

Machinery Palace, Ward & Blohme, of San Francisco, architects. Italian Renaissance, inspired by Roman baths. Like Baths of Caracalla. Largest building of its kind in world; three blocks long, seven acres in area.

Banners, by Ryan, heraldic designs of early Spanish explorers and soldiers.

Lophantha lawn, designed by John McLaren, trees trimmed off four feet above ground, and trained to grow flat alongside Palace of Varied Industries.

East facade of Varied Industries, made Italian to harmonize with Italian Machinery Palace.

Main portal, like gateways of old Roman walled cities.

"The Miner," in niches of gateway, by Albert Weinert of New York.

Small portals Italian, fine color effect; lattice-work, orange, blue, light green'.

Sculpture on Machinery Palace, by Haig Patigian, of San Francisco.

Large columns in front and in vestibule of half dome, imitation Sienna marble.

Small portals, orange columns at sides, pink niche, blue dome, orange above dome; pleasing tone,

Corinthian columns at sides of portals; eagles at corners of capitals, at top, symbolize inspiration.

Frieze around drums at base of columns "Genii of Machinery," by Haig Patigian; eyes closed, signifying Power of the spirit, or blind fate.

Figures in triangular spaces on either side above doorways, "Application of Power to Machinery," by Haig Patigian.

Figures on tall Sienna marble columns, "Power," "by Haig Patigian. "Steam Power," with lever. "Invention," carrying figure with flying wings, suggesting quickness of mind. "Imagination, eyes closed. Eagle bird of inspiration, about to fly. "Electricity," foot on earth, carrying symbol.

Eagles repeated on bar, the entablature, across front of domes; symbol of inspiration.

Coloring in vestibule of Machinery Palace: Finely harmonized; brown and brick-colored walls; orange and blue ceilings; green lattice work.

"Genius of Creation," group before court leading to Court of Ages, Daniel Chester French. Spirit above, a woman, creating life from shapeless mass of earth below. Man at left, courageous and enterprising; woman at right, timid, hesitating. Serpent, symbol of wisdom, coiled about mass.

Court of Mines, Leading to Court of Ages

Coloring, pink walls, pink streamers, by Guerin. Green shell lamp posts, by McKim, Mead & White, architects. Called "Pink Alley" by workmen during construction.

Palaces on sides of court: to the north, Mines; to the south, Varied Industries.

Lamp standards against walls, dark bronze, smoked ivory globes, by Faville.

Flat Ionic columns, called pilasters, against walls, by Faville.

Figure in niches, "The Miner," by Albert Weinert.

Court of the Ages

Court of Ages, Louis Christian Mullgardt, of San Francisco, architect. Most original of the courts. Faint influence of Spanish Gothic, Romanesque, French, Moorish. Richness and profusion. Suggests evolution of man.

Palaces around court: northeast, Mines; northwest, Transportation; southwest, Manufactures; southeast, Varied Industries,

Decorations on columns of archways around court, kelp, crabs, lobsters, and other sea animals. Vertical lines in columns suggest falling water.

Fairy lamps, two in each archway, delicately designed.

"Primitive Man and Woman," by Albert Weinert, repeated alternately above corridors around court. Man, a hunter, feeding pelican. Woman, the child-bearer.

Tower at north entrance, suggestive of French cathedral architecture, massive, but gives appearance of lightness. One of the great successes of the Exposition.

"The Rise of Civilization," groups of sculpture on tower, by Chester Beach. Central idea, evolution, Stone Age, Mediaeval Age, and Present Age. "Primitive Man," lowest group, just above great reptiles in foreground. Man is holding child and protecting mate. "Mediaeval Age" directly above, Crusader in center, Priest and Warrior on sides. The candlesticks on sides of crusader, used in mediaeval churches, the light of understanding. On sides of altar, "Modern Man and Woman," struggling for freedom from the physical to the spiritual. "Spirit of Intelligence" enthroned above; on one side, child with book; on the other side, child with wheel of industry.

Chanticleer, repeated on highest pinnacles of court, at level with altar. Signifying dawn of Christianity.

"Thought," figure on east and west sides of tower. Candlesticks at sides.

Design on upper part of tower, suggested by the lily, emblem of purity.

Star clusters, at south end of court and in north court, by Ryan, modeled from snow crystal, and deepening the ecclesiastical character of the court by suggesting the golden monstrance, shaped like the rays of the sun, used in the Catholic church and, in the small glass-covered circle at the center, holding the sacred host.

"Water Sprites," by Leo Lentelli. Girl archers on top of columns at four corners of central court, launching arrow at sprites on base of columns. Originally designed as fountains.

Serpent cauldrons, around pool, designed by Mullgardt.

"Fountain of the Earth," by Robert Aitken, in center of court. Two Parts to fountain; large central one with globe representing earth, surrounded by panels showing life on earth; and on same pedestal to south, groups representing life before and after death. "Setting Sun," group at extreme south of pool, by Aitken. Man holding golden ball, Helios; serpent, heat of sun.

Figures on west side of southern group, "The Dawn of Life." Hand of Destiny giving life, pointing toward earth; Sleep of Woman before Birth; the Awakening; Joy of Life; Kiss of Life; Birth. Gap to central group represents time between peopling and history.

Panels around earth; South Panel; Vanity in center with handglass; man and woman with children, representing Fecundity, starting on earthly journey.

West Panel: "Natural Selection;" women turn to fittest male; one rejected suitor angry, other despairing.

North Panel: "Physical Courage" or "Awakening of War Spirit." Two men fight for possession of woman on left. Woman on right attempts to draw one aside.

East Panel: "Lesson of Life." Old woman gives counsel to young man and woman. Old man restrains an angry, jealous youth.

Right of south panel, "Lust."

East side of southern group: Greed, looking back on earth. Faith offering Immortality, symbolized by scarab, to Woman. Figures of man and woman sinking back into oblivion, "Sorrow" and "Sleep." Hand of Destiny drawing mortality to itself.

Hermae, pillars with head of Hermes, god of boundaries, separating panels around earth.

Reptilian and fishy forms above panels of central mass of fountain.

Corridors, walls red, blue vault above, arches of smoked ivory, lines of blue on wall. Illumination by half-globes in cups on inner side of columns.

Murals, by Frank Brangwyn, of London, representing Elements. Best placed of all murals. At corners of court in corridors.

Northeast corner, "Fire." "Primitive Fire," figures around fire nursing it, or feeding it. "Industrial Fire," use of fire in service of man.

Southeast corner, "Water": Fishermen dragging in net, carriers with baskets on backs, "The Net." Women and men filling jars at a spring, flamingoes in water, luxuriant growth, clouds, "The Fountain."

Southwest corner, "Air": Men shooting arrows through trees, birds in flight, "The Hunters." Huge mill, children flying kites, clouds, grain blown by wind, "The Windmill."

Northwest corner, "Earth": Men high in trees and on ground, "The Fruit Pickers." Figures crushing juice out with feet, group in front with wine, "The Dancing of the Grapes."

Planting in Court: Tall Italian cypress before arches; orange trees; balled acacia; denseness of growth along colonnades; heavy and rank, suggesting tropical flora.

Large cauldrons, at side of steps leading down to sunken gardens, designed by Mullgardt.

North Entrance to Court of Ages

"Daughter of Neptune" or "Aquatic Life," large female figure in north Court of Ages, by Sherry E. Fry.

Planting: eucalyptus, acacia, laurel.

Features that Ought to be in Noted by Night

Illumination

Three kinds of light used; white arc lamps, extensively behind banners and shields to flood facades of outer walls and Court of Four Seasons; warmer light of Mazda lamps in clear and colored globes; and searchlights concealed on tops of buildings trained on towers and on high groups of sculpture.

Lighting scheme and scope completed long before buildings were up; made possible by advance in illuminating engineering, developed under name of science of lighting and art of illumination.

Chief of Department of Illumination, Walter D'Arcy Ryan, of the General Electric Company, Schenectady, New York; field assistant, A. F. Dickerson.

Ornamental details of lighting standards and fixtures, designed by J. W. Gosling; designs made at Illuminating Engineering Laboratories, Schenectady.

Keynote of lighting scheme - life and gaiety, without garishness.

Lighting kept subordinate to architecture; walks shaded to throw emphasis on brilliantly lighted facades and to bring out architecture, landscape and flowers. Same lighting principle used throughout; but effect in different courts radically different.

Area of surface illuminated, 8,000,000 square feet; 2,000,000 of wall surface, and 6,000,000 of ground surface.

Number of searchlights used: 373 arc searchlights, in diameter from 13 to 36 inches; 450 small searchlights, called the "Mosquito Fleet"; 250 incandescent projectors for flag lighting.

Fillmore Street Entrance

South facade of entrance, outline illumination, with bare electric lights following outlines of architecture; used elsewhere only in Zone.

Inside Fillmore Street entrance, Zone to right; brilliant lighting, outline illumination, more or less refined; exaggerated effects prohibited.

Zone, element of festivity in arches crossing street at short intervals, ribbons of turkey red suspended from each lamp give warmth and action.

Contrast of Zone lights with illumination in other parts of Exposition.

To left, Service Building, administration offices; coloring, Pinks and blue; ceiling of porch, intense blue, deepest used on grounds.

Corner of Avenue of Palms and Avenue of Progress: lights banners, towers, facades of buildings, walks, flood lights, spots of light and color.

Fairy-like effect of Avenue of Palms: towers look luminous; in early evening Italian Towers red hot, throbbing; glow stronger than Tower of Jewels; later, Tower of Jewels most brilliant spot on avenue.

Tower illumination, floods of light from searchlights; white light creates shadows, in turn illuminated by concealed colored light on various stages, on Tower of Jewels and Italian Towers.

Single light standards along Avenue of Palms, light yellow, dull points of light; contrast with white pearly light on tops of booths.

Avenue of Progress

Along Avenue of Progress: fine flag display; no direct sources of light; banners; beautiful scenes made by planting against walls and quality of green on lawn; daylight effect from luminous arcs which produce whitest artificial light in use.

Gas lights on tops of booths, emergency lights if electricity fails.

Banners and heraldic shields, designed by Ryan; banners, of early explorers and pioneers, heraldic shields related to history of California, Mexico, Central America, and Pacific Ocean.

Purpose of banners: to form beautiful lines of color, to screen eyes from direct light source, to reflect light toward buildings, and to suggest history of court.

Banners suspended, swung by wind, form moving spots of color.

Roman gateway, Palace of Varied Industries: faint light through small arches above doorway; delicate green lattice or grill work in door.

Light in doorways: appearance of life within, produced by reflectors inside palaces throwing light through glass of doors; new idea; contrast with dark windows of other expositions.

Arches of Machinery Palace: warm red glow in domes above; strong yellow through doors below.

Inner Court of Mines Leading From Palace of Machinery to Court of Ages

Illumination strongest on upper sections of wall; it becomes more subdued as it approaches flowers and lawns, and reaches lowest point on center of avenue; plan used on all avenues.

Green lattice work, filling entire main doorway, in harmony with lawns.

Single globe lamps placed against walls; only court with lights in this position.

Shell lamps, flooding walls with light, advanced method of wall illumination.

View of central fountain in Court of Ages: glow of red lights, faint shimmer in pools, steam rising to suggest the earth cooling after being thrown off by the sun.

Court of the Ages

Court of the Ages: mystery in blending of illumination from searchlights above; lack of direct illumination on court itself; steam cauldrons, with illumination, incandescent lights, gas torches in small serpent cauldrons, lanterns in arches of the arcade that burn around cloister.

Fountain of Earth in center of pool, carrying mind down the ages to correspond with architect's conception of court.

Steam rising from base of fountain; figures silhouetted in warm red glow; lighter tone of red at upper portion of ball; shimmering reflection of panels, with red background in pool at sides of fountain.

Serpent cauldrons, around edge of pool, to heighten weird effect, by the flickering of the gas lamps.

Large cauldrons at east and west entrances; effect of simmering molten liquid.

Steam used in court, obtained from twenty horse-power boiler under tower.

Main tower, only tower without direct light thrown on exterior; religious feeling, increased by candlesticks, two on each side; steam to suggest smoke drifting upward.

Reflection of tower in pool, to be seen from south.

Cathedral appearance of windows at sides of court, by illumination in warm orange tone from within.

Sunburst standards modelled in imitation of snow crystal, and resembling monstrance used in Catholic church; two at south of court; only large light sources in court; contrast with other illumination.

Two fairy lanterns in each arch around court.

Brangwyn murals lighted without glare by indirect diffusion from four corners.

Play of lights along colonnade; lighting on murals adds to apparent distance.

North Entrance to Court of the Ages

Similar treatment of lights, brighter than in central court; four star clusters, sixteen serpent cauldrons; effect heightened.

Tower, more beautiful from Marina side; note of refinement illumination in altar, shadow in two colors, created by red light illuminated by pale amber lights.

Star clusters convey to mind religious feeling in keeping with design; cathedral effect.