Chapter 9

We were part of the crowd that swept to the Court of the Universe, never so splendid as at night, with the columns reflected in the pool and Calder's star figures shining from the concealed electric bulbs. On reaching the court itself we stood at the end of one of the corridors and looked down. Great drops of light hung on the columns like molten gold. "Ryan has done something very artistic and unusual there," the architect remarked. "So far as I know nothing just like it has ever been done before. It suggests the tongues of fire mentioned in the Scripture that descended from Heaven."

In the sunken garden those two shafts, rising from the fountains, looking like stone by day, had become great candles, glowing from the base to the glass globe on top. "They're practically the sole means of illuminating this court. The other lights are merely ornamental. So far as I'm aware nothing just like these shafts has ever been tried in an Exposition or anywhere else. It's a novel Expositional effect. Some people don't like it; but most people admire it immensely. It symbolizes the gold that first drew the multitude to this part of the world. If the golden color had been used more extensively throughout the Exposition it would have helped a lot. Guerin gets it at night by means of the light that shines through the windows and Faville gets it in the light behind those wonderful doorways of his that haven't been praised half as much as they ought to be."

The Court of the Ages lured us along the dimly lighted inner court, the arches taking on an even more delicate beauty in the night light. Once within the court we found ourselves under the spell of Mullgardt's genius. The architecture, the cauldrons sending out pink steam, the flaming serpents, the torches on the tower, the warm lights from within the tower, the great ecclesiastical stars, brilliant with electricity, all carried out the idea of the earth, cast off by the sun.

In the entrance court we found the effects less magnificent but, in their way, just as beautiful. The lighting emphasized the refinement of the court, the rich delicacy of the ornamentation. "Mullgardt ought to go down into history for this contribution to the Exposition," said the architect. "He has shown that originality is still possible in architecture."

In the Court of the Four Seasons we watched the Emerald Pool turning the architecture into a mermaids' palace. The water flowing under the four groups of the seasons shone from an invisible light beneath, coloring it a rich green. "When Ryan promised to illuminate the water here without letting the source of the light be seen, it was thought by the people it couldn't be done." For a long time we sat in front of the lagoon where the swans were silently floating and, and the Palace of Fine Arts was reproduced with a deeper mystery. Now we could feel the relation between the colonnade and Gerome's chariot race. "It would please Gerome if he could know that he had helped to inspire so magnificent a conception," said the architect. "And if Boecklin could see this vision and hear that his Island of the Dead had started Maybeck's mind thinking of it he would probably be astonished and delighted at the same time. With his fine understanding of the influences operating in art he would see that his contribution did not in any way detract from Maybeck's originality. Down the centuries minds have been influencing one another and, in this way, adding to the sum of wisdom and beauty in the world. Now and then, as in this instance, we can plainly see the influences at work. Behind Boecklin and Gerome there were doubtless influences that led to their making those two pictures, inspirations from nature or from other artists, or both together. And this palace will doubtless inspire many another noble conception."

"When we apply that thought to the Exposition as a whole," I said, "we can see what a big influence it is likely to have on the art of the country."

"It has undoubtedly had a big influence already, even though we may not he able, as yet, to see it working. The very interest the Exposition has, aroused in the people that come here, whether they are artists or not, can't help being productive."

Seeing the Lights Fade

We went over to the South Gardens to see the lights change on the Tower of Jewels, passing the half-dome of Philosophy, the stained glass of the windows enveiling the background. They were still robing the tower in pure white, and the hundred thousand pieces of Austrian cut glass were shimmering. "They must have had a hard time getting those jewels fastened on the ornamentation of the upper tiers. The wind up there is very strong. Some of the men came near being blown off. It took pretty expert acrobatic work to hang the jewels out on the extreme edges.

Suddenly the lights on the tower glowed into red. The tower itself seemed to become thinner and finer in outline.

"There are people who don't like this color," said the architect. "It's fashionable nowadays to feel a prejudice against red. But it is one of the most beautiful colors in nature and one of nature's greatest favorites, associated with fire and with flowers. To me the tower is never so beautiful as it is when the red light seemed to burn from a fire inside. See how it tends to eliminate the superfluous ornamentation. It brings out the grace of line in the upper tiers, like folded wings. With just a few eliminations the improvement in that tower would be astonishing."

Presently the lights in the tower went out altogether. The four Italian towers also grew dim. It was getting late. People were hurrying out. But we lingered. We wished to see this city of domes as it appeared without any lights at all, except for those that were kept burning to meet the requirements of the law.

For an hour we roamed about the deserted place. Here and there we would meet a belated visitor or a group of people from some indoor festivity.

The material had taken on a finer quality. It looked like stone. Wonderful as the Exposition was by day and in the evening, it was far more wonderful at this hour.

Now it was easy to imagine the scene as a city, with the inhabitants asleep in their beds. But just what kind of city it was I could not make up my mind. When I expressed this thought to the architect, he said:

"Have you ever seen David Roberts' big illustrated volumes, 'Travels in the Holy Land'? If you haven't, look them up. Then you will see what kind of a city this city is. It's a city of Palestine. It's Jerusalem and Jaffa and Akka all over again."

Features that Ought to be Noted by Day

The South Gardens

Hedge. Idea suggested by W. B. Faville, of Bliss & Faville, architects, of San Francisco, and developed by John McLaren, landscape gardener and superintendent of the Golden Gate Park, San Francisco, to give impression of old English wall. African dew plant grown in shallow boxes, two inches deep, covered with wire netting.

Design of entrance at Scott Street, by Joseph J. Rankin.

South Gardens, French in character, with suggestions of Spanish. Planting by John McLaren.

In center, "Fountain of Energy," by A. Stirling Calder, acting chief of sculpture; French influence. Expresses triumph of energy that built the canal. Youth on horseback, standing in stirrups, "Energy." Figures on shoulders, "Fame" and "Valor." Figures on globe, two hemispheres; Western, bull-man; Eastern, lioness-woman. Figures on base, sea-spirits. Upright figure on globe, Panama. Large figures in pool, the oceans: The Atlantic, a woman with coral in her hair, riding on back of armored fish; North Sea, an Eskimo hunting on back of walrus; Pacific, a woman on back of large sea lion; and South Sea, a negro on back of trumpeting sea-elephant. Sea-maidens on dolphins' backs, in pool.

To right and left, in front of Festival Hall, and Horticultural Palace, at ends of long pools, French fountain of "The Mermaid," figure, by Arthur Putnam, of San Francisco.

To right, large building, Festival Hall, by Robert Farquhar, of Los Angeles; French theatre architecture. Studied from the theatres of the Beaux Arts style of French architecture. Details, French Renaissance developed from the Italian influence.

To right, Press Building, designed and built by the Exposition; Harris H. D. Connick, Director of Works.

To left, large building, Palace of Horticulture, Bakewell & Brown, architects.

To left, Young Women's Christian Association.

French light standards, by Walter D'Arcy Ryan and P. E. Denneville.

French ornamental vases, filled with flowers, by E. F. Champney.

The wall, by Faville, with ornamental Spanish entrances, runs around main courts and palaces, making the walled city. Tiled roofs suggesting mission architecture, associated with early California missions, a style developed from the Spanish.

Four smaller towers, two on either side of large tower, by George W. Kelham, of San Francisco; Italian Renaissance.

Sand on walks, selected by Jules Guerin for its pink color to harmonize with color scheme. Binds together buildings, its pink harmonizing with pink of walls. Grains of sand in walks translucent.

Flag poles, ornamented with gilt star, by Faville. Orange-colored streamers by Guerin.

Heraldic designs related to history of Pacific Coast, by Ryan.

Thoroughfare running along wall and lined with palms, Avenue of Palms.

Equestrian statue, to right of Tower of Jewels, by Charles Niehaus, "Cortez," conquerer of Mexico.

Equestrian statue, to left, by Charles Cary Rumsey, "Pizarro," conqueror of Peru. Fine in action and spirit.

Tower of Jewels

Main tower breaking southern wall, facing South Gardens, the Tower of Jewels, by Thomas Hastings, of Carrere & Hastings, New York. Developed from Italian Renaissance architecture, with Byzantine modifications, and designed to suggest an Aztec tower; 433 feet high; original intention to make it 100 feet higher.

Inscriptions on wall at base of tower chosen by Porter Garnett of Berkeley, explain steps that led to building of Panama Canal, celebrated by Exposition. On both sides of inscriptions Roman fasces denoting public authority. From left to right: "1501 Rodrigo de Bastides pursuing his course beyond the West Indies discovers Panama"; "1513 Vasco Nunes de Balboa crosses the Isthmus of Panama and discovers the Pacific Ocean"; "1904 the United States, succeeding France, begins operations on the Panama Canal"; "1915 the Panama Canal is opened to the commerce of the world."

Large Composite columns on base. Arched capitals with acanthus, ornamented with the American eagle, the nude figure of child, and ornamental design suggesting California fruits. Colored to resemble Sienna marble.

Corinthian columns at either side, eagles at corners of capital, human head above.

Figures by John Flanagan, of New York, represent types in early California history: Spanish adventurer of sixteenth century, who came to California and started Spanish influence; priest, who brought the Catholic religion to California Indians; philosopher, or scholar and teacher; and the Spanish warrior, the soldier of sixteenth century, who came to win territory for Spanish king. Above cornice of tower stand four figures on each of the four sides, twice life-size.

Between statues by Flanagan, square decorative panels; youthful figures with wreath, repeated on north of tower. Designed by Hastings, modelled by Newman and Evans, New York.

Armored horsemen on terrace, by F. M. L. Tonetti, type of Spanish soldier. Repeated four times on each side. Well modeled, but damaged in effect by being placed in row.

Rows of eagles on niches of tower, symbol of American initiative.

Decorative vase on wings of tower, Italian. Use of ram's head below bowl.

Wreaths of laurel under eagles, rewards of courage, suggesting triumph of building canal.

Prows of triremes, at corners on third lift, denoting worldwide commerce.

Ornamental use of niches, columns, vases, head-piece, breastplates, shields, the pagan bull, Cleopatra's Needle.

Human figures supporting globe, encircled with girdle, point of tower; suggest Atlas; ancient idea; somewhat like the group of the four quarters of the world by Jean Baptiste Carbeaux in the gardens of the Luxembourg.

Tower broken into seven stages. Horizontal lines have flattening effect; tower does not appear so high as it really is.

One hundred and thirty-five thousand jewels on tower, suspended to vibrate. Ruby, emerald, aquamarine, white, yellow. Made in Austria, of Sumatra stone.

Arch of Tower of Jewels, 110 feet high, 60 feet broad; fine example of Roman arch, like Arch of Constantine and Arch of Titus.

Figure of Minerva on centerpiece of arch, north and south.

Recessed or coffered panels in ceiling, richly colored, blue harmonizing with murals on east and west walls.

Murals by William de Leftwich Dodge, of New York. To west, "Atlantic and the Pacific," with the "Purchase" to right, and the "Discovery" to left. Opposite, "Gateway of All Nations," with "Labor Crowned" and the "Achievement" on sides. Tone of murals strengthens arch. Subjects related to history of California and the Panama Canal.

Fountains, one in each of the colonnades. To right, "Fountain of Youth," by Mrs. Edith Woodman Burroughs, of Flushing, New York. Figure of girl, simple and well-modeled; panels at either side show boats, youth rowing the older people; eagle and laurel wreath at back, suggest that central figure is United States. One figure shows a woman with hand at ear, her attention turned toward the beauty and happiness of lost youth. To left, "Fountain of El Dorado," by Gertrude Vanderbilt Whitney (Mrs. Harry Payne Whitney), of New York. Panels at either side show human struggle for "land of gold," or "happiness," or "success." Portals ajar, but Egyptian guardians bar the way. Dramatic subject, vigorous handling.

View of San Francisco hills between the columns, one of the most beautiful views on the grounds.

Inscriptions on north of tower, by Garnett, discovery of California and union with United States. From left to right: "1542 Juan Rodriguez Cabrillo discovers California and lands on its shores." "1776 Jose Joaquin Moraga founds the Mission of San Francisco de Asis"; "1846 the United States upon the outbreak of war with Mexico takes possession of California"; "1850 California is admitted to the Union as a sovereign State."

Forecourt of Court of Universe; coloring good, graceful planting of cypress.

Trees in niches under tower; contrast of colors, dark green, blue and pink.

Court of the Universe

Elephant poles, Roman, by McKim, Mead & White; streamers by Guerin.

Bear fountains, in walls of Palaces of Liberal Arts and Manufactures, north of Tower of Jewels. Three on each wall. Colors, pink, dark blue, light green.

Largest court in Exposition. By McKim, Mead & White, architects, of New York. Inspired by Bernini's entrance to St. Peter's, in Rome.

Area of court, seven acres; 650 feet wide from arch to arch; 1200 feet from Tower of Jewels to Column of Progress.

Palaces around court: northeast, Transportation; northwest, Agriculture; southwest, Liberal Arts; southeast, Manufactures.

Sunken Garden, planted by John McLaren.

Height of Arches of Rising Sun and Setting Sun, 203 feet from base to tip of sculpture.

East, Arch of Rising Sun; Arch of Setting Sun, in west. Suggested by arches of Constantine and Titus in Rome; modified by use of green lattices, Oriental, and by colossal sculptural groups, the East and the West, in place of Roman chariot or quadriga.

Columns in front of arches; composite, mingling of Ionic and Corinthian; female figure used as decoration.

"Angel of Peace," by Leo Lentelli, on each side of arches on Sienna columns, repeated four times. Sword is turned down, but not sheathed, a commentary on modern peace.

"Pegasus," in triangular spaces above arch, by Frederick G. R. Roth, repeated on the other side.

Medallions, right and left sides of arches. Female figures suggesting Nature, by Calder; male figures suggesting Art, by B. Bufano, of New York.

Above medallions on frieze, decorative griffons.

Quotations on Arch of Rising Sun, west side, facing court, chosen by Garnett. Panels from left to right: "They who know the truth are not equal to those who love it," from Confucius, the Chinese philosopher; "The moon sinks yonder in the west while in the east the glorious sun behind the herald dawn appears; thus rise and set in constant change those shining orbs and regulate the very life of this, our world," from "Shakuntala" by Kalidasa, the Indian poet; "Our eyes and hearts uplifted seem to gaze on heaven's radiance," from Hitomaro, the Japanese poet.

Quotations on Arch of Rising Sun, east side, facing Florentine Court. Panels from left to right: "He that honors not himself lacks honor wheresoe'er he goes," from Zuhayr, the Arabian poet; "The balmy air diffuses health and fragrance; so tempered is the genial glow that we know neither heat nor cold; tulips and hyacinths abound; fostered by a delicious clime, the earth blooms like a garden," from Firdausi, the Persian poet; "A wise man teaches, be not angry. From untrodden ways turn aside," from Phra Ruang, the Siamese poet.

Crenellated parapet on arches, note from military architecture. Archers used to shoot from behind.

Cleopatra's Needle repeated on edge of arches. Used by the Egyptians as historical records and public bulletins. Merely decorative.

Green jars, beautifully designed, in niches at base of Arches of Rising and Setting Sun, McKim, Mead & White. Eight in each arch.

Arch of the Rising Sun, surmounted by group representing types of Oriental civilization. "Nations of the East," designed by Calder, and executed in collaboration with Lentelli and Roth. From left to right: Arab sheik on horse, negro slave, Egyptian on camel, Arab falconer, Indian prince, Buddhist priest or lama from Thibet, Mohammedan with crescent, negro slave, and Mongolian on horseback.

Murals in arch by Edward Simmons, of New York. On north wall, from left to right, True Hope and False Hope, Commerce, Inspiration, Truth, Religion, Wealth, Family; in background Asiatic and American cities. On south wall: historical types, nations that have crossed the Atlantic; from left to right, "Call to Fortune," listening to the past, the workman, the artist, the priest, Raleigh the adventurer, Columbus the discoverer, the savage of lost Atlantis, the Graeco-Roman, and the Spirit of Adventure sounding the call to fortune. In background, ancient and modern ships.

Arch of Setting Sun. Statues, frieze, spandrels, parapet, identical with Arch of Rising Sun. Group on top, "The Nations of the West," designed by Calder, executed in collaboration with Lentelli and Roth. American figures grouped around prairie wagon, drawn by two oxen. Above wagon, "Enterprise"; in front, "The Mother of Tomorrow," white boy on one side, colored boy on other; south, a French-Canadian, an Alaskan woman, a Spanish-American, a German; north, an Italian, British-American, squaw, American Indian.

Quotations on Arch of Setting Sun, chosen by Garnett. Panels from left to right, facing court: "In Nature's infinite book of secrecy a little I can read," from "Antony and Cleopatra," by Shakespeare, the English poet;

"Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound,

I, a child, very old, over waves, toward the house of maternity, the land of migrations, look afar,

Look off the shores of my Western sea, the circle almost circled. from "Leaves of Grass," by Walt Whitman the American poet; "Truth, witness of the past, councillor of the present, guide of the future," from "Don Quixote," by Cervantes, the Spanish novelist.

Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York. "Westward March of Civilization," beginning on north and continuing on south wall. Four groups in north panel, from left to right, Emigrants setting out for the west; two workmen and a woman holding child; symbolic figure of the Call to Fortune; types of those who crossed the continent, the driver, the Preacher, the Pioneer, the Judge, the Schoolmistress, the children; youth bidding farewell to parents; in background, New England home and meeting place. South wall: four groups in panel, from left to right; two Spanish-American soldiers and captain with a Spanish priest, suggesting Mission period; symbolical figure "Spirit of Enlightenment"; types of immigrants, the Scientist, the Architect, the Writer Bret Harte, the Sculptor, the Painter William Keith, the Agriculturist, the Laborer, women and children; California welcoming the easterners, figures of California bear, farmer, miner, fruit pickers; orange tree, grain and fruit, symbols of state.

Classic groups at head of steps in front of arches leading down into gardens by Paul Manship, of New York. North side, "The Dancing Girls"; south, "Music and Art."

Star-figure, along upper edge of court, by Calder. Repeated ninety times. Contrast with angel in front of arches.

Lion's head, on cornice below star-figure, repeated around court.

Gilt balls on the domes of all six pavilions. Represent an ornamental motive borrowed from the Byzantines and often used on synagogues. A feature of St. Mark's. Dr. Jacob Nieto, rabbi of the Temple Israel, of San Francisco, has an interesting theory as to their origin. "The ancients always had the greatest regard for the central star of each of the constellations that made tip the zodiacal signs. No doubt in their method of representation they would symbolize the central stars by a globe, as they also did the sun and the moon, looking upon them all as servants of the earth, and having, possibly, no idea that these other constellations might be separate solar systems."

Frieze on pavilions at corners of court, "Signs of the Zodiac," Atlas and fourteen daughters, seven Pleiades and seven Hyades twelve bearing plaques, by Herman A. MacNeil, of New York. On four sides of each of the six dome-covered pavilions. The third figure from the end on either side represents Electra. Sculptor, in modelling the form, put it on one side and then reversed it on the other side. The daughters of Atlas: only those representing signs of the Zodiac, have shields. On each shield is one of the signs of the Zodiac. What the sculptor has designed on the right is reversed on the left, securing absolute symmetry. The figures are finely done and merit special attention.

Lamps around sunken garden. Women; the Canephori, priestesses who carried baskets in ancient Greek religious festivals; men, suggestive of Hermes, used by Romans at ends of roads. Instead of baskets, they all carry jars.

"Fountain of the Rising Still." Ninety-foot column crowned by figure of Rising Sun, by Adolph A. Weinman, of New York. Reliefs at base of column, "Day Triumphant"; Time, Light, Truth, Energy, conquering Falsehood, Vice, and Darkness. Ornamental figures under upper bowl looking down into water, suggest Neptune, but are winged, "Spirit of the Waters."

"Fountain of Setting Sun." Column with figure of Setting Sun, a woman; called also "Descending Night." Reliefs at base of fountain, "Gentle Powers of Night," with Dusk covering Labor, Love, and Peace, followed by the Stars, Luna, Illusions, and Evening Mists.

Tritons in pools of Fountains of Rising and Setting Sun, by Weinman. Two statues; one, triton struggles with snake; in the other, with fish. Two duplicated in each pool.

Sheetlike appearance of water when full force of water is on; streams from figures in pool, overflowing from bowl, spouting from lion heads above frieze.