Chapter II: Part 2

The Court of the Four Seasons, unlike the other main courts, does not immediately call forth one's exclamations of surprise and delight. It is not so compellingly beautiful as either of the others. Nevertheless it has a distinctive charm of its own-a reposeful atmosphere and a simplicity of form that become more and more appealing with riper acquaintance. It is a good place to come to when one is satiated with the beauties of the other courts, for restfulness is the keynote. The simple massive style of the architecture and the simple planting scheme combine to produce a spirit of calm. The ideas of energy, achievement, progress, effort-so insistently emphasized elsewhere-are left behind, and everything breathes a sense of peace and orderliness, of things happening all in good season.

The primary idea underlying the decorative features of the court is sufficiently indicated in the name, "The Four Seasons;" and this idea is symbolically expressed in the sculpture and mural paintings in the four corners of the colonnade. But a study of the other decorations shows that the idea of abundance, or fruitfulness, was equally in the minds of architect and sculptors. The purely architectural ornaments, such as the capitals and the running borders, employ the symbols of agriculture and fruitfulness, while no less than five of the main sculptural groups or figures deal directly with harvest themes.

Architecture

The style of architecture is in general Roman. The half-dome and the colonnades are almost severely classic. The column capitals are Ionic. But in the freedom of some of the architectural forms, particularly in the archways at east and west, there is a suggestion of Renaissance influence. The plan with its four cut-corners with fountains, and its half-dome facing down the long colonnade to the bay, is ingenious. The half-dome itself, dominating feature of the court, is exceptionally dignified and impressive. To obtain the best view of it as a single unit, one should stand between two columns of the colonnade near either the Fountain of Summer or the Fountain of Autumn-as from these points the eye is not carried through the doorway at the back of the dome, to the detriment of a unified impression.

Henry Bacon is the architect who designed the Court of the Four Seasons.

Sculpture

Bulls on pylons. The finest sculpture here is to be found in the groups capping the pylons at the entrance to the minor north court. Though called by the artist "The Feast of Sacrifice," these are commonly known as "The Bulls." The group, which is duplicated, shows a bull being led to sacrifice by a youth and a maid, and is reminiscent of the harvest-time celebrations of ancient peoples. But it is just as well to forget the subject, and to admire purely for the sensuous charm-for the beauty of outline, the fine modeling, and the remarkable sense of spirited action. Note the three figures individually: the nobly animated bull, the magnificently set-up youth, and the strong yet graceful maiden; then note how the sacrificial garland holds the whole group together and makes it richer. Note, too, how the forward-moving lines of the bull are accentuated on one side by the similar lines of the youth's body, and on the other by the contrasting lines of the girl's. Putting aside any question of meaning, there is not in any of the courts a nobler bit of decorative work than this. Albert Jaegers was the sculptor.

Figures surmounting columns. On the two columns before the half-dome are Albert Jaegers' figures of "Rain" and "Sunshine." At the right, as one faces the dome, Rain is typified by a woman shielding her head with her mantle and holding out a shell to catch the water. At the left Sunshine is represented by a woman shielding her head from the sun's rays with a palm-branch. Both figures are characterized by a sense of richness, of fullness, that is perfectly in keeping with the spirit of the court. In commenting on these statues, in one of his lectures on the art of the Exposition, Eugen Neuhaus, the well-known California painter, suggested very appropriately that the court should have been named for them "The Court of the Two Seasons" since in California the only noticeable seasonal change is from a sunny period to a rainy period.

Group surmounting half-dome. This shows a conventional seated figure of Harvest, with an overflowing cornucopia. At one side a child-figure bows under a load of fruit. This group also is by Albert Jaegers. Here, as in "Rain" and "Sunshine," there is a sense of fruitfulness, of profuseness, a maternal suggestion that helps to carry out the symbolism of the court. In all three of these statues, too, there is something of the nobility and massiveness that distinguish the same artist's "bull" groups across the court. All are eminently suited to the massive Roman architecture; nowhere else have sculptor and architect worked together more successfully.

Fountains of the Seasons. In the niches formed at the corners of the court by the diagonal colonnades are novel fountains, surmounted by groups representing the four seasons. It is well to go first to the southwest corner, to the "Fountain of Spring"; then to the northwest corner, for "Summer"; and so on around the court. If one is ever puzzled to understand from the figures which season is represented, a glance at the labeled murals up above in the corridor will give the proper title for statue and murals of each season are grouped together.

Spring. A young woman draws a floral garland over her head, while at her right a love-lorn youth turns a pleading face to her, and at her left a girl brings armfuls of flowers.

Summer. To a man a woman holds up a babe, symbol of the summer of human life, while at one side a crouching figure holds a sheaf of full-headed grain.

Autumn. The central figure is a woman of generous build with a jar on her shoulder-quite the usual personification of Autumn or fruitfulness. At one side a young woman holds a garland of grapes, and at the other is a girl with a babe. This last figure is perhaps the most graceful in all the four groups, though the same sort of loveliness distinguishes to a certain extent the two flower-girls of "Spring." Altogether, this "Autumn" fountain is probably the finest of the four.

Winter. The central figure is Nature, in the nakedness of winter, resting after the harvests of autumn and waiting for the birth of spring. At one side a man with a spade rests, while on the other a man with a seed-bag is already beginning to sow. Although all the figures of "The Fountains of the Seasons" are nude, there is about this group a sense of cold nakedness that well accords with the season it portrays.

These four groups are very properly alike in composition and feeling-suggesting perhaps that the differences between the seasons in California are but slight. There is throughout a conventional touch, and all are in pastoral mood. The groups are by Furio Piccirilli.

The Fountain of Ceres is in the north extension of the court, between the Palace of Food Products and the Palace of Agriculture. The surmounting figure is of Ceres, Greek goddess of the fields and especially of corn. The bas-relief frieze represents a group of dancers, suggestive of the seasonal festivals of the Greeks. The main figure has been much criticized, but an unbiased critic may find much in the fountain to praise. The pedestal and the crowning figure are well thought out, and the proportions of the whole are good; and there is a feeling of classic simplicity throughout. The frieze of dancing girls, too, is exceptionally graceful. If, then, one discovers that Ceres is more mature than a goddess ever ought to be, or that her face suggests that of an exasperated school-teacher, or if one finds the cornstalk in her hand a realistic thing incompatible with any poetic conception, it is well to step back until one gets only the general effect. For there is much to admire in the poise of the figure, in the decorative outline, and in the sculptor's lightness of touch. The fountain was designed by Evelyn Beatrice Longman.

Minor Sculptures. On the archways at east and west of the court a high-relief figure by August Jaegers is repeated eight times, and the spandrels over the arches are by the same artist. In both cases the idea of abundance or fruitfulness again supplies the motive. The boxes at the bases of the columns on which "Rain" and "Sunshine" stand are decorated with agricultural scenes in low relief. The capitals at the tops of these columns are enriched with groups of agricultural figures. Within the archways at east and west the ceilings are decorated with delicate bas-relief designs, patterned after the famous ones at Villa Maderna, Rome.

Mural Paintings

All the murals in the Court of the Four Seasons are by H. Milton Bancroft. In general they are less interesting than those of any other court.

The Seasons. In the four corners of the colonnade there are eight panels, grouped by twos as follows: Spring and Seed Time; Summer and Fruition; Autumn and Harvest; and Winter and Festivity. There is little to hold the attention either in richness of color or in unusual grace of composition. Moreover, the artist has left nothing to the imagination in the symbolism by which he expresses the several ideas. The devices are so hackneyed, and the meaning so obvious, that any sort of interpretation would be entirely superfluous.

Panels under half-dome. On the east wall under the dome is the panel Art Crowned by Time. Father Time crowns Art, while on one side stand figures representing Weaving, Jewelry, and Glasswork, and on the other Printing, Pottery, and Smithery. On the opposite wall is the panel Man Receiving Instruction in Nature's Laws. A woman holds before a babe a tablet inscribed "Laws of Nature," while on one side are figures of Fire, Earth and Water, and on the other figures of Death, Love, and Life. These two larger panels are more pleasing than the eight representing the Seasons, both in coloring and in figure composition; and they make pleasing spots of bright color in the dome. But again the artist is tediously careful to make his meanings plain. Not only does each figure hold its obvious symbol prominently in view, but there are labels naming the figures. To the art student the painter's stipple-and-line method, producing vibration of light and a certain freshness of atmosphere, will be of interest, as being out of the usual run of mural technique.

Before leaving the Court of the Four Seasons one should stand under the central arch of the triple portal at the east, and look first to the east through the Arch of the Setting Sun to the group "Nations of the East;" and then to the west along the vista that ends with the kneeling figure before the Fine Arts temple. The arrangement of architectural and sculptural units in both vistas is worthy of study.

The Court of Palms and the Court of Flowers

In these two courts, which pierce the walled city on the south, opposite the Palace of Horticulture and opposite Festival Hall, is to be found the purest expression of that spirit of the Italian Renaissance which hovers over so much of the Exposition architecture. Here, too, one finds Jules Guerin's color scheme at its richest. Both courts necessarily lack the cloistral charm of the Court of Abundance, since they have the fourth sides open. But what they lack in the sense of enclosure they make up in sunniness and joyous color. They are restful and warm and quiet-and artistically they are among the most perfect and most harmonious units on the grounds.

The Court of Palms

The Court of Palms is directly opposite the Palace of Horticulture, between the Education and Liberal Arts Palaces, and adjoins the Court of the Four Seasons. The charming sunken garden and simple pool reflect the colored colonnade, arches and towers with a sense of rest that is a relief and stimulant after walking miles of exhibit halls. Although really nearly two acres in area, the court seems small and intimate. The proportions are good, and the planting particularly fortunate.

The architecture is Renaissance, and is suggestive of the interior courts of the palaces of the Italian nobles. The colonnade columns are Ionic. The high attic story or frieze above the colonnade is remarkably rich, with its orange brown panels garlanded with green and red fruits, and decorated with Caryatid pilasters. It is worthy of study for the way in which architect, sculptor and color director have co-operated. The Italian Towers, terminating the colonnades, are among the finest bits of architectural design in the whole building group. Though only a fraction of the height of the Tower of Jewels, they convey much better the impression of reaching high into the heavens, of aspiration and uplift. They are more satisfying, too, in their combination of architectural forms, and they carry out notably well the delicate but luxuriant color scheme of the court. The unusual repeated pattern which fills the large wall panels of the towers is worthy of attention.

The architect of the court was George W. Kelham.

Sculpture. The only really important statue in the court is that which stands at the opening on the Avenue of Palms-called The End of the Trail. An Indian, bowed at last under the storm, sits astride a dejected horse utter weariness, discouragement, lost hope, expressed in every line of man and animal. Some see in the statue only the abject despair of a horse and rider when the consciousness finally comes that the trail is definitely lost in the wilderness; and it is notable enough as an expression of this tragic theme. But others, remembering the history of the Indian, see here an eloquent and pathetic reminder of a race that has seemingly come to the end of its trail. As a portrayal of this racial tragedy the group is even more remarkable than as an expression of the hopelessness of a lost man and horse.

The statue is hardly in key with its architectural surroundings; but its comparatively isolated position prevents it from seeming an intrusive element in the court. Considered alone it is more individual, more expressive of independent and deep moving thought, than any other sculpture in the grounds. There is far more of real earnestness here than is usual in exposition sculpture. The thing is significant, too, for the native note. It is worthy of serious study as indicating one of the most important tendencies of American sculpture when not tied to the purely decorative. The sculptor was James Earl Fraser.

The minor sculptures in this court consist of the Caryatides by John Bateman and A. Stirling Calder; the spandrels, by Albert Weinert; "The Fairy," by Carl Gruppe, which crowns the Italian Towers; and the classic vases at the portals.

The mural paintings in this court are disappointing. Two are surprisingly poor, considering the high reputation of the artists, and the third is badly placed. The tympanum in the portal at the east side of the court is filled by Charles W. Holloway's panel, The Pursuit of Pleasure. This is a conventional treatment of the subject, in which a number of youths and maidens turn lackadaisically to a winged figure of Pleasure. There is a pleasing lightness of touch, and the bright reds and blues are in keeping with the spirit of the court-but the thing is, somehow, insipid. This panel is more pleasing under illumination. In the opposite portal is Childe Hassam's painting, Fruits and Flowers. This again is a conventional treatment, showing very obviously vegetable and human fruits and flowers. The arrangement is tediously symmetric, the coloring is rather weak, and there is a wooden stiffness about the figures. The panel makes a pleasant spot of color, but is by no means up to the standard of the canvases in Hassam's room in the Palace of Fine Arts.

The panel over the main doorway, at the north end of the court, is by Arthur F. Mathews, and is far superior to the other two, though unfortunately placed in a dark spot. It is called by the artist A Victorious Spirit. The central figure, gorgeously suggesting the Spirit of Enlightment, protects Youth from the discordant elements of life from materialism and brute force, as represented by the rearing horse and militant rider. Youth is attended by the peace-bringing elements of life, by Religion, Philosophy or Education, and the Arts. The symbolism here is sound, the composition and drawing unusually good, and the coloring quite wonderful-especially in the orange-yellow robe of the Spirit. The full deep colors are in sharp contrast with those of most of the Exposition murals.

No one should leave this court without first pausing to enjoy the vista through the north doorway, showing Albert Jaeger's spirited Sacrificial Bulls on the Agriculture and Food Products Palaces, the long colonnade of the Court of the Four Seasons, and the bit of bay and hills beyond.

The Court of Flowers

The Court of Flowers is opposite to Festival Hall, between the Mines and Varied Industries Palaces. The first impression, as one comes to it, is that here is a replica of the colorful Court of Palms. But many differences become evident after a few moments' study.

The architecture is Italian Renaissance, but of a more richly decorative sort than in the Court of Palms. There is more overlaid ornament, and on the whole, less simplicity and quietness and more varied interest. The columns here are Corinthian, arranged in pairs. The gallery above the colonnade adds to the suggestion of the sunny South. The Italian Towers, while similar in feeling to those of the other court, are different in the arrangement of elements, though equally successful. The color decoration is again notable.

It is hardly necessary to add that George W. Kelham designed this court too.

Sculpture. The center of the court is dominated by Edgar Walter's Beauty and the Beast Fountain. The surmounting statue is a curious combination of graceful lines and grotesque effects. The strange Beast is no less fantastic than the young lady herself-she who has adorned her fair body with nothing more than a Spring hat and a pair of sandals. It is probably this near-nudeness, without pure nakedness, that creates the jarring note of the group Certainly there is a bizarre touch that somewhat offsets the sinuous charm of the figure. Under the upper basin are four piping Pans, not notable individually, but adding to the decorative effect. The wall around the lower pool carries a playful frieze of animals in low relief.

The Pioneer is the title of the equestrian statue at the south end of the court, on the Avenue of Palms. The man is typically the Western pioneer, as every resident of the Pacific Coast has known him-a patriarchal figure who foreran civilization here in the West of America as he has in all other new lands. Head up, axe and gun in hand, looking straight forward, he is a fine visualization of the "Forty-niner." He is, too, an interesting racial contrast to the Indian of "The End of the Trail." One wonders, however, about the horse, with the elaborate trappings that clearly belong to another era-to the days of Spanish conquest, perhaps. Certainly horse and rider do not seem to be conceived in the same spirit. The group lacks, too, that vital intensity of feeling and that emotional strength which distinguish "The End of the Trail," the companion-statue in the Court of Palms. The "Pioneer" is by Solon Borglum.

The minor sculpture here consists of A. Stirling Calder's attractive "Flower Girl," repeated in the niches along the loggia; dignified Lions, by Albert Laessle, flanking the three portals; and again Carl Gruppe's "The Fairy," atop the Italian Towers.

The Tower of Jewels, and the Fountain of Energy

It was planned that the Tower of Jewels should be the great dominating feature of the architectural scheme of the Exposition; that this unit more than any other should stand as a triumphal monument to celebrate the opening of the Panama Canal. The mural paintings, the sculpture and the inscriptions all carry out this idea, but the tower, in its architectural aspect alone, fails to live up fully to its purpose. It serves well to "center" the whole scheme, and to afford an imposing pile at the main entrance. Nevertheless it falls short of the high architectural standard of the courts and palaces.

Architecture

The architectural forms used in the design of the tower are in general classic; but the architect has shown considerable originality in their arrangement and massing.

The lower portion, embracing the imposing arch and flanking colonnades, is very dignified and quite satisfying. Standing close to the structure, on the south side, so that one is conscious chiefly of this lower portion, there comes the proper sense of nobility-the feeling that one obtains from a successful triumphal arch. The chief fault of the tower above is that it lacks the long lifting lines that would give a sense of aspiration. It seems just a little squat and fat-as if it were too heavy on top and splayed out at the sides and bottom. It is also somewhat "showy," with too much hung-on ornament; and the green columns against red walls are not satisfying-this being one of the very few failures of the color scheme in the entire group of buildings.

At night the tower takes on a new and unexpected beauty. The outline softens under the illumination, and the feeling of over-decoration and broken lines is lost. The whole structure becomes a huge finger of light, reaching up into the dark heavens-with softer indirect lighting below, and glowing brilliantly above. Even the hundred thousand pendent jewels, which at best are but flashy in the day time, add to the exquisite fairy like effect at night. The illumination here is such, indeed, that it must be one of the most impressive and lasting memories to be carried away by the visitor.

The Tower of Jewels was designed by Thomas Hastings, of the firm Carrere and Hastings of New York.

Sculpture

The sculpture, like the mural paintings, deals in general with the winning of the Americas and the achievement of the canal project.

Sculpture on the tower. As one stands in the South Gardens facing the tower, one sees above the first cornice, reading from left to right, four statues of The Adventurer, The Priest, The Philosopher, and The Soldier. These finely realized figures, which are by John Flanagan, represent four types of the early conquerors of America. On the next story is a repeated equestrian statue of the Spanish Conqueror, called The Armored Horseman, by F. M. L. Tonetti. These five statues are repeated on the other three faces of the tower. There is much other sculpture of a purely decorative sort, the motives used being those usually found in triumphal monuments, such as eagles, wreaths, and the beaks of ships with which the Romans ornamented the columns celebrating their naval successes.

Equestrian statues at entrance. In front of the two side colonnades are spirited equestrian statues. As one faces the tower, the figure at the left is of Pizarro, who conquered the richest portion of South America for Spain. This figure is heroically decorative, and is by Charles Carey Rumsey. At the other side of the main arch is Charles Niehaus' vigorous statue of Cortez, who won Mexico for Spain. This figure, carrying a flag and pennon on a lance, and perfectly seated on the strong horse, has a live sense of movement, and the whole group is informed with the spirit of the lordly conqueror.

Fountains under the tower. Within the colonnades to east and west of the main archway are respectively the Fountain of Youth and the Fountain of El Dorado.

The Fountain of Youth consists of a central figure on a pedestal, and two rounded side panels with figures in relief. Youth is symbolized as a girl, an immature figure, beautifully modeled. She stands, perfectly poised, among rising blossoms. On the pedestal are more flowers in relief, and two dimly indicated half-figures of a man and woman may be discovered. The side panels show old people being drawn away in ships manned by cherubs-old people who gaze back wistfully at the Youth they are leaving. Really the fountain is far more charming if one forgets all but the central figure. There is in that a sweet tenderness, a maidenly loveliness, that makes it the perfect embodiment of Youth-an embodiment to be remembered with delight again and again.

The fountain was designed by Edith Woodman Burroughs.

The Fountain of El Dorado is on the other side of the archway, and is by Gertrude Vanderbilt Whitney. It represents, as a whole, mankind's pursuit of the unattainable. The legend of El Dorado is that there once lived in South America a prince, "The Gilded One," who had so much gold that daily he had his body covered with gold dust. Many Spanish explorers spent fruitless years in search of the fabulously rich country of this prince. The idea of the fountain is that the Gilded One, representing the unattainable, the advantages of wealth and power which deluded men and women seek without value given to the world in return, has just disappeared through the gateway, the gates closing after him. On either side processions of seekers who have glimpsed the Gilded One, strain toward the gateway. Some loiter in love or play, some drop from fatigue, some fight their way along; and the first two, finding that the pursuit is fruitless after all, have dropped to their knees in anguish. The two standing figures beside the gates are said by the sculptor to have no significance beyond the fact that they are "just guardians."

The fountain is notable for its symbolism and for the modeling of the many nude figures. The panel on the right is especially decorative, and has some notably fine individual figures and groups. The spirit of the fountain, with its realism and its note of hopelessness, is not in keeping with that pervading most of the Exposition sculpture. After looking at the work for a time, turn and look back through the two archways at the central figure of Youth at the other side. Certainly no figure in the Fountain of El Dorado has the appeal and charm of that.

Mural Paintings

On the walls of the archway under the Tower of Jewels are eight paintings celebrating the building of the Canal. All are by William de Leftwich Dodge.

On the west wall the first panel is called Discovery. It portrays the discovery of the Pacific Ocean by Balboa.

The second panel is called Atlantic and Pacific. A huge figure of Labor, having brought together the oceans, is opening a waterway from West to East. On the left an ox-drawn prairie schooner has arrived at the shore, with types of Western civilization. On the opposite shore types of the nations of the East, in a colorful group, are straining forward to meet the West.

The third panel is entitled The Purchase. A figure representing the United States is taking over the canal project from France. The French laborers are throwing down their tools, and Americans press forward to take them up.

In the group on the opposite wall the first panel is called Labor Crowned. Victorious Labor is being crowned by the angel of Success, while soldier and workers come to pay homage.

The second panel is entitled The Gateway of All Nations. Figures symbolizing Progress call the world to pass through the Canal. Neptune holds garlands by which he draws ships of the various nations toward the waterway. Two laborers rest on their machines and watch the procession which they have made possible.

The last panel is called Achievement. A woman with the symbols of knowledge, or wisdom, sits enthroned, while about her are grouped figures representing the forces instrumental in building the Canal. At the left are laborers; at the right figures typifying Engineering, Medical Science (with the Caduceus, the wand of Mercury, god of medicine), and Commerce or Munificence.

These mural paintings are among the most interesting and most imaginative of all those at the Exposition. Some of the groups are particularly fine in coloring. Note the method of obtaining the right effect of "flatness" by employing a conventional diaper pattern for the background throughout. The panels here are much more effective under full illumination at night than by daylight.

The Fountain of Energy

The Fountain of Energy in the South Gardens was designed to be the crowning feature of the sculpture of the Exposition, just as the Tower of Jewels was designed to dominate the architectural scheme; and it fails of its high purpose in much the same way. It is closely allied with the tower in symbolic meaning, celebrating man's victory over the forces of nature in the successful building of the canal.

In the pool at the base of the fountain are a number of graceful groups of water sprites on dolphins, and four larger groups representing the four great seas. The one to the east of the main fountain represents The Atlantic Ocean as a woman with sea-horses in one hand and coral like hair, on the back of a conventionalized dolphin. At the north The North Sea is represented by a sort of sea-man, with occasional fins and with a three-pronged spear in hand, riding on a walrus. At the west The Pacific Ocean is typified by a woman on a remarkable sea monster. And on the south a sea-man with negro-like features, and with an octopus in one hand, rides on a sea-elephant, representing The South Seas.

The main pedestal of the statue is a globe, representing the earth. This is supported by a series of figures of mermaids and mermen. The Eastern and Western Hemispheres are represented by figures reclining on the globe, the one to the east a cat-headed woman, the one to the west a bullheaded man. The band, decorated with aquatic figures, which encircles the globe, suggests the final completion of a waterway about the earth.

Energy, the Victor, the surmounting group, typifies the indomitable spirit that has achieved the building of the Canal. The nude figure of Energy with arms outstretched rides a horse through the waves, while on his shoulders stand smaller figures of Valor (with a wreath) and Fame (with a sword) heralding the triumph. These small figures are unfortunate they hardly belong, and instinctively one is worried for their equilibrium.

The whole fountain is instinct with energy, and expresses joyous achievement, as was meant. Moreover it is remarkable in its breadth of conception, in imaginative interpretation of the theme. But it lacks that sense of repose which would make it intimately satisfying.

The fountain was designed by A. Stirling Calder.

Palaces Facing the Avenue of Palms

The adoption of the "walled-city" plan for the Exposition meant the grouping of the more imposing architectural effects in the interior courts, the outer facades simply forming parts of a practically continuous wall about the whole. Inspired by Spanish architecture of the Renaissance, the intention was to keep the wall spaces in general quite bare, concentrating the decorative effects in rich "spots" at carefully chosen intervals. Thus the outer facades of the central group of palaces combine a simple general form with a series of richly ornamental portals. The architect who as entrusted with the designing of the wall and all the portals was W. B. Faville of Bliss and Faville.

Certain architectural and sculptural units are repeated throughout the central group. Each building has a low central dome, seldom seen when one is close to any of the main buildings, but adding greatly to the decorative effect from a slight distance. These domes are of Byzantine style, and are colored in harmonizing shades of green and pink. The small repeated corner domes add another Eastern touch, and are especially effective at night. The outer wall is edged all the way around with a simple cornice and a few rows of dull red tiles, distinctly Southern in feeling, and therefore harmonizing with both the Spanish and the Italian Renaissance doorways.

The Winged Victory is the fine decorative figure that crowns the gables of all the palaces of the walled-city. It is broadly modelled, massive and yet refined, and from any viewpoint stands out in beautiful silhouette against the sky. It is by Louis Ulrich.

Palace of Varied Industries

Before turning to the more important south facade, it is well to look at the east wall, with its dignified and colorful portal. This is Roman in style of architecture, to harmonize with the Palace of Machinery opposite. It is similar in general form to the memorial arches and gateways of the Romans, but in the use of architectural motives and in decoration it is of Italian Renaissance style. The niches at each end of the gallery contain figures of The Miner, by Albert Weinert. The facade is ornamented with buttresses at regular intervals, carrying figures of the California Bear holding a scutcheon with the state seal.

Returning to the Avenue of Palms and the south facade, one sees the most important artistic feature of the building, the central portal. This is a copy, except for the figures filling the niches, of the famous doorway of the Hospital of Santa Cruz at Toledo, Spain. It is in Spanish Renaissance style, of that especially rich type known as "Plateresque," due to its likeness to the work of the silversmiths of the time. For its grace of composition, its exquisite detail, its total effect of richness and depth, this portal is worthy of long study.

The sculpture of the portal is all by Ralph Stackpole. In the lower niches are replicas of "The Man with a Pick," a figure that has been justly admired as a sincere portrayal of a simple laboring type. The relief panel in the tympanum represents various types of industry. From left to right the figures typify Spinning, Building, and Agriculture (or the clothing, sheltering and feeding of mankind), and Manual Labor, and Commerce. The group in the niche above the arch shows a young laborer taking the load from the shoulders of an old man. The single figure at the top of the arch shows the laborer thinking, and is called "Power." Note how all these sculptures, while having individual interest, fit unobtrusively into the lace-like portal.

Palace of Manufactures

The wall of this building is broken by pilasters and inset decorative panels, and by a series of niches with animal head fountains. The central portal is pure Renaissance architecture, again suggestive of the Roman gateway in form.

The sculptures of the doorway, including the two figures of male and female labor in the niches, and the long high-relief panel, are by Mahonri Young, who is noted for his simple, powerful treatment of modern themes. The panel represents various branches of manufacture, including metal work, blacksmithing, pottery-making, spinning, and architectural sculpture.

Palace of Liberal Arts

The facade here exactly duplicates that just described, even to the niche figures and panel in the portal.

Palace of Education

The Palace of Education has three Renaissance portals on the south facade. These are more Spanish in feeling than those of the two palaces just passed. The tympanum panel of the central doorway may be taken to represent kindergarten teaching, instruction of boys and girls, and self-education in young manhood. It is by Gustave Gerlach. The two panels in the walls over the minor doorways treat very obviously of educational subjects. They are flat in more senses than one, lacking the life of the central tympanum group. They are by students of two American art schools.

The west facade of the Palace of Education is dominated by an immense half-dome, impressive in size and attractively decorated. The style of architecture here is mainly Roman, to harmonize with the Fine Arts Palace which it faces across the lagoon. There are two splendid architectural fountains, under the half-dome here and under, that of the Palace of Food Products.

Sculpture. Flanking the great arch are columns carrying the nude figure of a man, with hands crossed, gazing fixedly in thought. In the official list this is called "Philosophy" or "Thought," and from it the immense portal is called "The Half-dome of Philosophy." But the same figure occupies the corresponding position before the Food Products Palace, and is there called "Physical Vigor." The truth is that the artist designed the statue to suggest that finest of all unions of strength, the physically powerful man thinking. Thus the figure is appropriate to both a food products building and an education building. The figure is strong, but is not so convincing or appealing as the same artist's "Man with a Pick," in the Varied Industries portal. Within the half-dome is a repeated figure with a scroll inscribed "Libris," by Albert Weinert.

The six niches in the west wall have two repeated statues by Charles R. Harley, known as "The Triumph of the Field" and "Abundance." They are simply repeated from the Food Products Palace to the north, where they properly belong, and will be treated in the next chapter in connection with that building.

On the north facade of the Palace of Education are duplicates of the three south portals, with the same sculptured panels.

Palaces Facing the Marina, and the Column of Progress

The walled-city idea, which throws most of the fine architecture into interior courts, is even more severely carried out in the north facades than in the south. The palaces on the Marina, indeed, present a wall unbroken except by the central doorways and the slight corner projections. The small domes at the corners give a Moorish touch, reminiscent of Southern Spain, and the portals are direct adaptations from Spanish masterpieces.

Palace of Mines

The north facade of the Palace of Mines is free from all ornament except the richly decorative central portal. This is worthy of prolonged study, being one of the finest bits of architectural ornament at the Exposition. It is designed very closely after Spanish models, and is of that transitional period of Spanish architecture that came between the Gothic and the Renaissance, when Gothic had been enriched through the influence of Moorish art, and was just beginning to feel the impulse of the Italian Renaissance. Note how rich is every part of the detail; then note how all detail is subordinated to the mass effect of the whole.

The statues in the niches of the portal are by Allen Newman. The central mantled figure is called the "Conquistador," or conqueror. The artist has here portrayed in spirited fashion a fine type of Spanish nobility. The figure in the side niches, with an old-style pistol in his belt and a rope in his hand, is "The Pirate."

The east facade of the Palace of Mines duplicates that of the Varied Industries Palace, and the west facade forms one side of the north Court of Abundance.

Palace of Transportation

Here the one notably artistic feature is the central portal on the north side, which is an exact replica of the Spanish doorway of the Palace of Mines.

The Column of Progress

This monument symbolizes the energy, the unconquerable spirit that is forever pressing forward to overcome new obstacles, which has led to the building of the Canal. The idea of such a monument was conceived by A. Stirling Calder, the architectural design is from the hand of W. Symmes Richardson, the reliefs at the base are by Isidore Konti, and the crowning statue is by Hermon A. MacNeil. The Column of Progress as a whole is among the finest artistic achievements of the Exposition, and more than any other, perhaps, is worthy of perpetuation in permanent materials to commemorate for all time the opening of the Panama Canal and the holding of the Exposition.

Reliefs at base. The high relief frieze on the square base of the column represents mankind heeding the call to achievement. On the south face are allegoric figures calling mankind to the struggle, the two women holding palm branches, the insignia of victory. On the other three faces are shown groups of figures striving forward at the call, pressing on to achievement, some joyously, some laboriously, some stopped altogether in thought. The whole frieze suggests the beginning of progress.

In the spiral that winds about the column certain interpreters have found a symbol of the upward march of human achievement; but as this spiral decoration is found on the Column of Trajan and the Column of Marcus Aurelius, the Roman prototypes of the Column of Progress, there probably is no special significance in its use here.

Supporting the crowning group is a drum with crouching figures of toilers in relief, entitled "The Burden Bearers."

The Adventurous Bowman is the title of the surmounting statue. The heroic Bowman, facing the skies and the seas, and launching his arrow into the unknown, is the symbol of the impulse that leads men to dare all to achieve victory. At the left of the central figure is a man of smaller stature, leaning against the Bowman to give him support. On the other side a woman crouches, looking up as the arrow speeds on its way. The ring-like object in the woman's hand, which is so hard to identify when one views the group from the ground, is a wreath.

There is about the Bowman a remarkable sense of movement, of energy, of pressing forward, no matter what the view point of the spectator. The monument should be seen from as far north as possible, near the corner of the California building, perhaps. From here, from the Esplanade as one approaches from either east or west, and from the Court of the Universe at the rear, the group has the same inspirational quality, the same sense of joyous effort, of courageous striving toward achievement. The placing of the monument where it closes three important vistas is commended for study to those who have in charge the artistic destinies of our cities.

Palace of Agriculture

The north facade of the Palace of Agriculture is bare except for the central portal, which again duplicates that of the Palace of Mines.

Palace of Food Products

The north facade of this palace duplicates that of the Palace of Agriculture. But when one turns the west corner into Administration Avenue, one finds an entirely different atmosphere, where the Spanish architecture has given way to Italian. The dominating feature of the building's west facade is an immense half-dome, officially called "The Half-dome of Physical Vigor." This is an exact replica of the "Half-dome of Philosophy" on the Education Palace.

Sculpture. Before the half-dome here, on columns, are replicas of Ralph Stackpole's statue of the physically vigorous man in thought. Inside the half-dome is a repeated figure of a man with a wreath, by Earl Cummings.

In the niches along the walls are two alternating compositions, "Abundance" and "The Triumph of the Field," by Charles R. Harley. Abundance is typified by a seated woman, with the conventional overflowing cornucopias beside her, as well as a conglomeration of details suggestive of the riches of land and sea. This group certainly belongs to the Food Products building, but it really ought to be inside, with the flowers made of butter and the tower of raisins. The Triumph of the Field shows a man seated, and around him a museum of ancient symbols of agriculture, and of agricultural triumph, such as were once carried in the annual harvest festivals. These two groups are among the most amusing things at the Exposition; but artistically they can hardly be said to count at all.

The Palace of Machinery

The Palace of Machinery, largest of all the structures at the Exposition, terminates the main building axis at the East. It is monumental in proportions, and is well suited to its purpose of housing an immense display of machines.

Architecture

The architecture was evidently inspired by the great baths of ancient Rome, which were similar in style, size, and detail. The scale is so great-this is said to be the largest wooden building in the world- that it is something of an achievement to have made the structure anything but barn like. By the richness of the cornices and the careful spacing of the openings the architect has made it ornamental, and has given it a sort of noble dignity-though one hesitates to compare it with the palaces of the central group.

The most interesting architectural bit in connection with the Palace of Machinery is the entrance vestibule under the three central archways. Standing at either end of the portico one obtains a remarkable impression of spaciousness combined with decorative completeness. The coloring within the high vestibule is particularly pleasing.

Within the building the unconcealed trussing, instead of giving a sense of barrenness and lack of finish, resolves itself into a sort of lace-like decorative scheme, the whole effect being peculiarly ornamental.

The Palace of Machinery was designed by Clarence R. Ward.

Sculpture

The sculpture here consists of the series of four nude male figures on the column drums, and spandrels for the main and minor doorways, and a widely different group, "The Genius of Creation," before the main western portal. All but the latter group represent "Types of Power."

The figures surmounting columns, flanking the three arches of the central doorway, represent "Steam Power," "Invention," "Electricity," and "Imagination."

Steam is symbolized as a man holding a long lever.

Invention is represented as a man holding forth a miniature winged figure at which he gazes steadily.

The figure of Electricity holds jagged lightning, conventional symbol of electricity.

Imagination, primal power back of all machinery design, is represented by a figure with arm thrown back of head, and seemingly with eyes closed.

Considered simply as portrayals of power, these four virile figures are very successful, and they serve well to carry out the sense of immensity and strength that characterizes the entire building. But they are not at all polished or subtle, lacking the refinement that would make them interesting as something besides vigorous types. All four figures are by Haig Patigian. They are repeated in different order on columns before the north and south portals of the building.

The bas-relief friezes about the bases of the vestibule columns are also by Haig Patigian. The winged figure, typifying "Machinery," lends itself to decorative uses better than the purely human type, and the artist has worked in various mechanical symbols quite cleverly. The cardinal principle in sculptural decoration of this sort is that the frieze, like the whole column, must carry an impression of support. It will be noticed that no room has been left above the head or below the feet; and the disposition of the wings and arms further adds to the feeling that the figures are a true structural unit rather than mere ornament stuck on.

The spandrels over the minor arches in the vestibule, again typifying "Machinery," are equally successful in serving an architectural purpose. Mural sculpture, like mural painting, must never be allowed to "make a hole" in the wall. Notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. These spandrels are also by Haig Patigian. The column reliefs and the spandrels are repeated at the minor doorways of the building.

The Genius of Creation, a magnificently conceived group of sculpture, has been placed, rather unfortunately, in front of the main west portal of the Palace of Machinery. It is by Daniel Chester French, who is generally considered the dean of American sculptors. The Genius of Creation is portrayed as a huge winged figure, enthroned over the formless mass of earth, with head bowed and arms outstretched, calling human life into being. At the two sides a man and a woman, fine strong figures both, stand looking forth, the man courageously, the woman a little more timidly. And at the back, as if to signify the mutual dependence of man and woman, the hands seek to touch. A serpent encircles the base of the group, symbolizing wisdom-or as some prefer to interpret it, everlasting life. This serpent is probably not the one that had so much to do with the life of the first couple on earth.

The statue expresses, of course, the orthodox idea of creation, and it is interesting to contrast it with the sculpture of the Court of Abundance, which in general gives expression to the doctrine of evolution. The strong, almost severe, motherly figure is finely religious in feeling. The sculptor himself has commented on the religious tone that runs through much of the Exposition sculpture, remarking especially the prevalence of winged angel-figures. The reader is left to decide how far this has resulted from the fact that the winged form is essentially decorative, and how far from reverence.

Viewed entirely from the aesthetic side, without regard to the symbolism, the Genius of Creation is one of the most satisfying works on the grounds. It is too bad that it was placed before a background of broken spaces, and before a colorful facade that makes it seem pale. But in it is that reposeful strength which characterizes so much of French's work-a sense of completeness, of fullness, that is perhaps the most soul-satisfying quality of great sculpture.

The South Gardens, Festival Hall, and the Palace of Horticulture

If there is one portion of the Exposition building scheme that does not seem to "belong" to the main group of palaces, it is that which lies south of the Avenue of Palms, including the South Gardens, Festival Hall, and the Palace of Horticulture. The relation of the two buildings to the main courts and palaces is clear: Festival Hall terminating the cross axis through the Court of Abundance and the Court of Flowers; the Palace of Horticulture terminating the cross axis through the Court of the Four Seasons and the Court of Palms. But though the organic relationship is apparent, the least discriminating of critics can see that these buildings are of an architectural style not in harmony with the central group of palaces. Both structures lack that fine sense of proportion and that simple and impressive dignity which characterize the architecture of the courts; and both are more or less pretentious and ornate.

The South Gardens

The South Gardens, like the buildings, have a certain magnificence but at the same time lack any distinctive appeal. The three basins with their fountains are imposing, and the individual beds of flowers are gorgeous in their profuse massing of color; but the distances are so great, and the sense of enclosure that means so much to gardens is so far lacking, that the lover of formal gardening will be less satisfied here than at several other places in the grounds.

Sculpture. The sculpture of the South Gardens is all on the three fountains. The immense central group, the Fountain of Energy, already has been described. In the other two basins the Mermaid Fountain is repeated. This is an attractively ornate bit of decorative design, surmounted by the figure of a mermaid with a dolphin. The figure was modeled from designs by Arthur Putnam. It is typical of the fine strength of his work, and at the same time appealing by the grace of its sinuous lines.

Festival Hall

Festival Hall, designed for the many conventions and musical festivals of the Exposition period, is of typically French architecture of the modern school. The building is not unpleasing, but there is little about it to hold the interest. Robert Farquhar was the architect.

Sculpture. All the sculpture on Festival Hall is the work of Sherry E. Fry. The figures are well suited to their purpose, from the slender "Torch-Bearer," surmounting the minor domes, to the heavy reclining figures on the pylons at the main entrance. Most of the statues are too roughly finished to have more than a decorative interest, but the two groups flanking the main stairway are worthy of study. These two "Flower Girls," one on either side, have a beautiful flowing grace. But quite the most appealing things here are the two minor figures before the pedestals on which the Flower Girls stand. Before the one at the north is a captivating boy Pan with a lizard. Half hidden in the shrubbery at the other side is the sitting figure of a girl, attractively immature and charming in line.

Palace of Horticulture

The Palace of Horticulture is characterized by that combination of Eastern and Western architectural motives which is so noticeable throughout the buildings. The dome is Byzantine, while the rest of the building is of Renaissance, or modern, French architecture. The dome considered alone is an almost perfect bit of design, beautifully proportioned and finely simple. The rest of the building is in general over-decorated, the portals especially being heavily loaded down with meaningless ornament. Apologists for the building say that the profuse ornateness rightly suggests the richness of California's horticulture. Perhaps the best view of the dome is from the east end of the Avenue of the Nations, near the Denmark building, because from there one can see it unobstructed, escaping the disturbing effect of the portals and their spires. The Palace of Horticulture was designed by Bakewell and Brown of San Francisco.

Sculpture. All of the sculpture here is purely decorative. The frieze at the base of each spire, consisting of heavy female figures modeled in pairs, is by E. L. Boutier. The ornamental Caryatides of the porches are by John Bateman.