Near by is Paul Manship's "Music," adding the song, and the music of the lyre.
As a last touch you will find the nations of the Occident and the nations of the Orient marching into this Court of the Universe to take part in the festival in celebration of one of the greatest events of history - the opening of the Panama Canal.
At night comes the illumination, as a climax to the festival, and gradually the lights die down and all is still - just for a few hours only, for day will dawn, for is not the Rising Sun ever with us - and another day of festivity will come, and yet more at this greatest festival that the world has ever known.
The Tower of Jewels
Architect - Thomas Hastings of New York.
Architecture - Italian Renaissance with Byzantine features.
This great Tower of Jewels symbolizes the Panama Canal, the jewel today that is most resplendent.
It is 433 feet high. In cold weather, owing to the contraction of the steel, it is said to be four inches shorter than in warm weather.
The arch is 110 feet high and 60 feet broad.
The tower is in seven lifts, surmounted by the earth with its shimmering jewels. You are reminded that the whole earth is affected by this stupendous piece of engineering (the Panama Canal).
The figures on the pedestals of the arch are by John Flanagan of NewYork, and they represent:
1. The Adventurer, the type of man of the 16th century who pushed outinto the wilderness of the southwest.2. The Priest, the type of man who came to convert the country in the16th century.3. The Philosopher, who by his fine knowledge of the Greek and Latinmanuscripts was able to disseminate knowledge in the 16th centurythruout the new regions.4. The Warrior, the type of 16th century soldier who came to conquer thecountry.
On the first tier you meet the Armoured Horseman by Tonetti, the type of colonizer of the 16th century.
Now look at the equestrian statues that stand on either side of theTower. That on the right is Cortez (by Chas. Niehaus), the conqueror ofMexico - the man who wrested Mexico from Montezuma for the kingdom ofSpain.
On the left Pizarro (by Chas. Rumsey), the conqueror of Peru, who gained for Spain the land of the Incas.
The country north of the Panama region was conquered by the Spanish.That on the south of Panama was also the Spanish land.
It is time now to read the inscriptions on the south side of the tower:
1501
Rodrigo de Bastides, pursuing his course beyond the West Indies, discovers Panama.
1513
Vasco Nuñez de Balboa, crossing the Isthmus of Panama, discovers thePacific Ocean.
1904
The United States, succeeding France, begins operations on the PanamaCanal.
1915
The Panama Canal is opened to the commerce of the world.
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The United States has put thru the canal, so the American eagle with outstretched wings is seen as a decorative motive on either side of the Tower - with telling suggestions.
The hand of the law is governing the commerce of the Panama Canal, hence you receive that gentle reminder in the Roman insignia, the fasces.
In the old Roman days of the kingdom, as well as in the days of the Roman republic, the lictor marched in front of the head of the State carrying the fasces, those twelve birch rods with the ax, indicating punishment and then death if the laws were not obeyed.
The fasces are seen at the extreme ends of the wings of the tower.
It is interesting to see this same device used in the Liberal Arts Palace and in the Educational Palace - especially in reform exhibits or such exhibitions as the New York Educational Exhibit, where the hand of state is suggested.
The laurel wreath on the tower is another speaking motive.
The vessels push out in all directions from the Panama Canal. You get that suggestion at the corners of the third lift.
Don't lose sight of the beautiful turquoise green columns in the temple forms of the Tower. At night the aquamarines follow out the same beautiful color.
Watch, when the Tower is first illuminated with the blood glow, and you will see that it almost pulsates with life. It should, for is it not the vital part of this great Exposition?
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Jewels on the Tower
There are some ten tons of jewels used at the Exposition.
Fifty thousand jewels are used on the Tower alone, accenting in the main its architectural feature.
These jewels are of live colors - mostly canary and white glass, ruby, emerald, aquamarine.
Mathematical calculations have been made by expert physicists to show at just what angle the jewel must be cut.
These jewels were made in Austria.
Nearly every village in Austria has its glass workers - the finest workers in their line in the world.
Sand of a peculiar quality is most carefully prepared, mixed with other ingredients, the whole being brought to a molten state.
This glass is then poured into molds.
It is taken out of the molds, the casts being carefully trimmed by hand.The principal tool used is a rotating sanded wheel.
The prism is polished by hand with tin, so as to make the facets perfectly smooth. This glass must be very hard in order to reflect sufficiently well.
The glass is called Sumatra Stone. It is tinted to counterfeit jewels. These jewels are held in place by metallic bands from which extend small arms at the back of each jewel to hold tiny mirrors which assist in the reflection.
Each jewel is suspended from a hook so that it is in constant vibration, in order to catch the rays of light most advantageously.
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As you have now rehearsed your history and have in mind what has been done by the United States in regard to the Panama Canal (the Tower of Jewels), walk thru the Court of the Universe to the Esplanade where stands the Column of Progress.
The Column of Progress
The prototype of this column is seen in Trajan's Column in the Forum ofTrajan or in the Column of Marcus Aurelius, in Rome.
Architect - Symmes Richardson, one of the junior partners of the firm ofMcKim, Meade and White of New York.
The bas-reliefs at the base are by Isadore Konti of New York.
The sum of all human effort is represented. Man's spiritual progress is seen on the four sides of the base.
Atlas rolling the heavens suggests the passage of time.
Men with their different ideals in the long procession of progress are seen. Some go manfully on, some fearfully, some feel the need of the sword to win their way, others find companions necessary, but all of these men and women must have faith (represented by the two meaningful women at the door), the hope of the palm of victory, and hear the bugle call as they go on their upward climb.
They pass before us, these men and women of different aspirations, and disappear from view.
Up, up they climb.
At the top of the column is Hermon A. McNeil's Burden Bearers, supporting his Adventurous Bowman.
"All must toil to win" and some must bend their backs that others may rise. Has it not been so at the Panama Canal?
Have not many done the labor that the United States, the AdventurousBowman, may win?
This purposeful type of manhood, with magnificent decision, has just drawn the bow, and on has sped the arrow of success.
The bowman looks to see it hit the mark.
The man on the right possibly is one of his aids.
The little woman at his side will know by his eyes if the arrow has gone home, and she will then bestow upon him the laurel wreath and the palm of victory which she holds in her hand. She stands ready to help him.
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See the group from the sea-wall directly in front of the Column of Progress for the splendid purpose expressed in the figure and on the face of the "Adventurous Bowman."
Many San Franciscans would like to have this wonderful group duplicated in bronze to remain permanently with the city of the Exposition of 1915.
The Court of the Ages and not The Court of Abundance
Architect - Louis Christian Mullgardt of San Francisco.
Architecture - If one could call this beautiful architecture by name one might say Spanish Gothic, on account of the round-arched Gothic and also the Spanish finials used, but it is so thoroughly original that this is hardly the term to use. It is Romanesque in its vaulting of the corridor, and at first glance in its great square tower, and arches, and yet not Romanesque architecture.
It is suggestive of the last period of English Gothic in its rich parallelism of vertical line - and yet is not that.
It is suggestive of the flamboyant decoration of the French architecture such as one sees and feels at Rouen Cathedral - and yet, not that, for on looking closer one sees not wavy line suggesting flame, but the wave of the kelp of the sea - and then one realizes that the vertical lines represent falling water.
The kelp is turned, looped and suspended with all sorts of lobsters, crabs, sea-turtles, octopi, flounders, etc., wriggling thru it, not seen at first, then in strong evidence, making you wonder why you had not seen them before.
The whole cloister represents the magical power of water and fire worked out in travertine, fountains and illuminations.
This court certainly shows the most marked originality in the architectural line at the Exposition. It is the conception of a man of rare invention, imagination, and marked poetic feeling. It is surely the last word in stucco. Everybody loves this Court of the Ages, and everybody wishes that we could have something permanent like it somewhere - perhaps in San Francisco. We shall all be loath to part with in when the two hundred and eighty-eight days are gone.
The arches of perfect proportions are allowed two swinging fairy lanterns apiece - a soft glow coming from them.
In the corridors are globes which at night look like lambent moonstones, casting soft light.
Walk down the corridors (not noticing the glorious murals at the ends) to observe the fine manipulation of color.
Notice that the usual pink of the walls has here a deeper tone - a terra-cotta warmth added, making a most wonderful combination with the blue vault above. The arches are of smoked ivory. Your eye catches a line of cerulean blue at your side, and up you follow the blue, until it gains its fullest expression in the square area of the groined vaulting. Notice how bands of smoked ivory play the part of transverse arches. It is so very beautiful here.
The murals in this corridor are more wonderful than words can tell. They are by Frank Brangwyn of London, and represent Earth, Air, Water, Fire.
Earth - Two canvases represent the Earth, the teeming, opulent earth giving of its fullness. Men with great baskets gather the harvests of vegetables and fruits (especially the luscious grapes in the second canvas).
Fire - One canvas shows Primitive Fire, where by means of leaves and twigs the narrow curl of smoke ascends between the trees. Men on bended knees blow the slowly burning leaves and fan the flame.
The aged draw near to feel the warmth; nearer comes the man with the little child in his arms - and, as a result, we have a homely woodland scene of primitive times.
The second representation of the same subject glows on the next canvas.
The subject is Industrial Fire. Men have made a rude furnace in which the pots are being baked. Pots of all sizes and shapes are being brought by the men and women of the neighboring region.
The great cloud of blue smoke rises in increasing breadth and height thru the trees.
Don't fail to notice the wonderful skies in these two canvases.
Water - On a portion of land between two waters men and women have sauntered down to the water's edge to fill their jars. The flamingoes, birds of the water, stand in the foreground telling you that water is near. Plants grow luxuriantly on the banks. Pregnant clouds are blown nearer and nearer. The canvas is fairly moist with watery suggestions.
It would not be hard to realize when you look at this canvas that it was done by a man who understands the art of making stained-glass windows. He cannot keep his secret from you.
The second treatment of Water - Great brawny-armed fishermen are pulling in their heavy net. In the distance come men with baskets on their heads to carry away the wriggling fish. Beyond the trees the heavy moisture-laden clouds come nearer and nearer.
Air - A great windmill such as one sees in Frank Brangwyn's etchings (for he lived during his youth in the windmill country, making what he saw around him his own).
The wind has brought the storm-laden clouds and the rain is descending. The currents of moisture-laden air are reflecting the rainbow. The wheat of the field bends far forward as the wind blows over it.
The belated harvesters (the foremost with his winnowing sieves) are blown forcibly along their path.
The many flowers bend their heads under the forward movement of the breeze. It is most interesting to notice how many devices have been used in order to make the work as suggestive as possible.
The second treatment of Air. The great trees are most noble in their strength.
Men, strong like the trees, are shooting thru the air their arrows.
A flock of frightened white birds are cutting the air, showing you why the men are there. This is a simple but clever treatment of the subject.
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If you would know why you feel that there is something ancestral in these glorious compositions, why the strong colors are so well combined, why the canvases breathe freedom of thought and action, why the distances are so marvelously expressed, why the sky and water are just that deep wonderful blue, read Sparrow's "Frank Brangwyn" and you will soon discover, and the appreciation for the pictures will be increased tenfold.
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Now step down into the Cloister, so that you can see well Helios, the setting sun. This was the primitive man's idea of the setting sun. He saw the sun as a man holding a huge golden ball, splashing down into the waters of the west. The serpent represents the burning sting of the sun.
You are bound to reflect here that the sun has thrown off great nebulous masses and that one of those masses has cooled and that we now call it the Earth. Yonder it is, seen at the end of the fountain, with four streams of water, from prehistoric sea life, playing over it.
Pass along to the first group beyond Helios, realizing that Robt. Aitken, the sculptor, calls this "The Dawn of Life." From right to left are these figures:
1. The Hand of Destiny Giving Life. 2. The Prenatal Sleep of Woman. 3. The Awakening. 4. The Joy of Living. 5. The Kiss of Life. 6. The Bringing Forth of Life.
The elemental feelings are here suggested.
You will then notice a gap which stands for the unknown period of history after the first "Dawn of Life."
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Now pass to Panel 1 (facing Helios).
The central figure is Vanity, one of the compelling motives of that early life.
Following are two fine figures carrying their children, expressing the idea of the fecundity of the early races.
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A hermes divides this panel from the next. Since in classic times a herm, or hermes, was used to mark distances on the roads, so here the hermes is used to mark distances, or periods in time.
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Panel 2 - We now see the successors of the children of the previous panel grown to manhood. The fact of Natural Selection inflicts itself upon man. Two women are attracted to the same male, a fine intellectual and physical type. The rejected suitors are seen at the end of the panel, one in anger, the other in despair.
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Panel 3 is called The Survival of the Fittest. This is the suggestion that physical strength decides who shall survive. We notice that chieftains struggle to possess the same woman, a woman on the right endeavoring to separate them.
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Panel 4 is called The Lesson of Life.
Elders of experience attempt to give counsel to the love-lorn and impetuous, knowing that impulse may sometimes be a poignant foe.
Returning to Panel 1, the two figures at the right represent Lust, another of the strong forces of the early peoples.
You have now reached your first group beyond the gap.
The first figure is Greed, the third motive in this history of life. He has been holding onto the material things of life - there they are, rolled into a great ball. He realizes how futile his life has been and looks back upon the past, longing to retrace his steps and live to nobler purpose.
Then comes the old man who has the spiritual understanding, and he knows that the only hope for his companion is the realization of the spiritual, the consciousness of immortality, and so he gives to her the winged beetle, the symbol of renewed life.
The time has now arrived for her to leave her mortal life, and she passes into that sleep by which her material body is cast aside.
Thereby the man has his first sorrow. She whom he loved is gone, and he is cast down in despair - because his outlook is not a spiritual one.
The hand of Destiny has drawn these lives unto itself. The law has been fulfilled.
I have taken the liberty of culling the chief ideas from the article on the subject, written for the November "International Studio," adding a few ideas which seem consistent with the work before us.
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This fountain, done in pierced relief, is most decorative in the Court of the Ages. It is, from a technical standpoint, a most remarkable composition.
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The next subject for study is The Tower. Notice the small spire atop. It is like a flêche on a French cathedral and helps in the French feeling which you had when you thought that you had discovered the flamboyant style, and yet, on the whole, it is more the style of Spanish towers than of the French.
Most of the figure work on the tower is by Chester Beach, formerly ofSan Francisco.
The groups on the tower are now to be considered.
The combined work is called The Rise of Civilization.
The lowest group is Primitive Man during that period when great reptiles, like the saurian in the foreground, crept over the earth; when man fought with huge serpents and gigantic lions.
The rude man in the center has his child on one arm, the other arm protecting his mate (not an ordinary position for the arm of primitive man).
You easily surmise that trouble is near. His look of dogged defiance tells you that he is marching forth to meet some enemy, man or beast. This is the first march of civilization - one in which brute strength plays the principal part.
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Just above, you notice that civilization has now reached the mediaeval stage and you see the Crusader with cross on breast and sword in hand. He has reached this lofty position thru faith (represented by the priest) and war (suggested by the rude warrior). The spiritual has now been added to the physical.
At the side of the tower, holding the same position on the tower as does the Crusader, are suggestions of the crusader's tomb such as one sees in many of the English churches. The Crusader passes on and his place is taken by more advanced types.
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On either side of the Crusader appears the paschal candlestick (which at night is illuminated).
You are approaching the altar.
Above is the Priestess of Religion, with the nimbus surrounding her head. At her feet are children holding, one a book, indicating faith, and the other the wheel, meaning progress.
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Around the court, on the highest pinnacles, are cocks, signifying the dawn of Christianity (in reference to Peter's denying Christ).
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Come back to the tower and you will notice a man and a woman on either side of the altar. They are rising from the primitive man and the primitive woman at their feet. They represent the man and the woman of today. In the case of the man, you will notice how primitive man holds on to him and how the man of today endeavors to shake him off. (The man of today, by the power of thought, is trying to shake the rude brutish nature off.)
(These figures are by Albert Weinert.)
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Primitive Man and Primitive Woman, by Albert Weinert, are seen as finials around the court. He is a simple hunter, or a man whose pastime consists in such amusement as feeding fish to the pelican. She is a woman whose chief work is to rear children.
Leo Lentelli's Aquatic Maids are grouped at the bases of the columns in front of the tower. It was at first planned to have the fountains play to the tops of the columns on which sit the aquatic maids shooting their arrows into the waters, but a change in the plans left the aquatic maids high and dry, hence your wonderment at why they sit aloft.
(Leo Lentelli was born in Bologna, Italy, but now lives in New York).
The Italian cypresses, tall and slender, stand like sentinels in front of the arches.
Orange trees, ten feet in height, heavy with fruit, stand in opulence before the cypresses.
Balled acacias, with repeated regularity of shape, produce in this charming cloister a delightful formalism.
Solid beds of pink hyacinths add a glowing touch of color in this beauteous garden.
The creeping juniper is the border used.
The cistus is the border used around the other beds. Under the trees are planted calceolarias, gebara, Shasta daisies, potentilla, columbine, and many other showy flowers.
The conventional standards at the south end of the cloister are aids in the illumination.
This court is most beautiful at night.
The tower, in white light, has the glowing candlesticks in striking evidence.
Great clouds of seeming incense rise constantly from the altars ranged around the court. Fiery serpents belch fire into the basins below. Beneath the world and around it rises the steam, which is marvelously illuminated.
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The North Court of the Ages
Eucalypti, acacias, English laurel and veronicas are banked closetogether in this court. Great beds of orange eschscholtzia, theCalifornia poppy, make this court a veritable Field of the Cloth ofGold.
The creeping juniper is the border used.
Sherry Fry's "Listening to the Sound of the Ages" stands in this court with her shell to her ear. She listens to the stories that the sea has told the shell, and wonderful, very wonderful, is what she hears.
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Since the first issue of this book I have received in written form Mr. Mullgardt's own wonderful interpretation, which I hereby append with his kind permission. I shall not correct my work, for it will be interesting to compare the work of a layman with that of the initiated:
San Francisco, April 19, 1915.
The Court of the AgesA Sermon in Stone
"The Court of the Ages" is 340 feet square. The surrounding walls are 75 feet high. The Tower is 200 feet high. The floor of the Court declines to the central Basin, affording the observer a full view of the surroundings. The arcaded and vaulted Ambulatory extends continuously around the four sides. The floor of this Ambulatory is elevated above the upper floor level of the Court for the convenience of observers. Its architecture has not been accredited to any established style.
The Court is an historical expression of the successive Ages of the World's growth. The Central Fountain symbolizes the nebulous world with its innate human passions. Out of a chaotic condition came Water (the Basin) and Land (the Fountain) and Light (the Sun supported by Helios, and the Electroliers). The Braziers and Cauldrons symbolize Fire. The floor of the Court is covered with verdure, trees, flowers and fruits. The two Sentinel Columns to the right and left of the Tower symbolize Earth and Air. The eight paintings in the four corners of the Ambulatory symbolize the elements of Earth, Air, Fire and Water. The Central Figure in the North Avenue symbolizes "Modern Time Listening to the Story of the Ages."
The decorative motifs employed on the surrounding Arcade are sea plant life and its animal evolution. The conventionalized backbone, the symbol for the vertebrates, is seen between the arches. The piers, arches, reeds and columns bear legendary decorative motifs of the transitional plant to animal life in the forms of tortoise and other shell motifs - kelp and its analogy to prehistoric lobster, skate, crab and sea urchin. The water-bubble motif is carried through all vertical members which symbolize the Crustacean Period, which is the second stratum of the Court.
The third stratum, the Prehistoric Figures, surmounting the piers of theArcade, also the first group over the Tower Entrance, show earliestforms of human, animal, reptile and bird life, symbolizing the StoneAge.
The fourth stratum, the second group in the Altar Tower, symbolizes human struggle for emancipation from ignorance and superstition in which Religion and War are dominating factors. The kneeling figures on the side Altar are similarly expressive. The torches above these Mediaeval Groups symbolize the Dawn of Understanding. The Chanticleers on the finials surrounding the Court symbolize the Christian Era. The topmost figure of the Altar symbolizes Intelligence, "Peace on Earth, Good Will Towards All" - the symbols of Learning and Industry at her feet. The topmost figure surmounting the side Altar symbolizes Thought.
The Arched Opening forming the inclosure of the Altar contains alternating Masks expressing Intelligence and Ignorance in equal measure, symbolizing the Peoples of the World.
A gradual development to the higher forms of Plant Life is expressed upward in the Altar Tower, the conventionalized Lily Petal being the highest form.
L. C. Mullgardt.
Court of the Four Seasons
It will be noticed that this court is planted mainly with grey-green foliage, the banner poles being of the same color.
Flora
Olive trees.Choisya ternata.High-grade acacias.Coprosma (from Chili - a shiny-leafed shrub on north front).Eucalypti.Cotoneaster bufolia (border).English yews in couples of three groups.Cypresses.English laurel.
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Architect - Henry Bacon of New York.
Architecture - Italian Renaissance.
There is a strong feeling of the architectural influence of Hadrian's Villa, near Rome, when the eye rests on the half dome and also on the treatment of the columns in front of the fountains of the seasons.
This is one of the chief beauty spots of the Exposition. A quiet, reposeful, happy place where birds have built their nests and where they sing their carols of spring.
As you pass into this court from the bay, or north side, your attention is drawn almost immediately to the bucrania, or bulls' heads, between festoons of flowers.
This is only a Renaissance motive, but the mind wanders back to the harvest festivals of olden days, when, after the great harvest procession was over, the bulls were sacrificed to the gods as a reward for the abundant harvest. The same idea is worked out in "The Feast of the Sacrifice," the magnificent bull groups atop the pylons (by Albert Jaegers), where youths and maidens lead the bulls in the harvest procession. Great garlands suggest the festivity.
The whole court is an expression of the abundance of the harvests - especially those of California.
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Ceres, the goddess of agriculture, with her wreath of cereals and her corn sceptre, has just poised on the top of the lovely fountain (by Mrs. Evelyn Longman), the die of which tells you by its cameo figures that this is the fountain of young, fresh, joyous nature. The graceful, happy creatures with garlands and fruits glide past you in song, shaking the tambourine or softly piping their roundelays.
Jolly satyrs, the happy creatures of the woodland, spout water into the basin below.
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The Food Products Palace is on one side, the Agricultural Palace on the other, and the suggestions worked out in the corn of the Ionic capital, the cereal wreaths on the frieze, the sheaves of wheat, are most happy decorations for just this court.
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Pass to the Pool beyond and stop to read the quotation. (from Spenser's"Faerie Queene") on the western gateway.
"So forth issew'd the seasons of the yeareFirst lusty spring all dight in leaves and flowresThen came the jolly sommer being dight in a thin silken cassock colouredgreeneThen came the autumne all in yellow cladLastly came winter, clothed all in frizeChattering his teeth, for cold that did him chill."
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Facing the half dome, walk first to the second niche to the right of the colonnade to examine Furio Piccirilli's Seasons.
Spring - A pyramidal group with Spring with her flowers in the center of the group. To the right is modest, timid, fresh young Flora, bringing her wealth of flowers.
To the left, one sees man adoring, bringing to mind Tennyson's lines from Locksley Hall.
"In the spring a young man's fanciesLightly turn to thoughts of love."
Here is that fine feeling that one has in beautiful springtime - the adoration for all fresh young life. Look above now at Milton Bancroft's murals to left and right. He has painted all of the murals in this court.
"Spring" is here in floral dress and the shepherd pipes sweet notes.
"Seed-time" - This is the time when the seed bag stands open so that the crops for the coming year may be sown.
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Marble group of Summer - Go to the left, along the corridor beyond the gateway, to the second niche - this group expresses fruition.
The mother brings to her husband the babe, the fruit of their love.
The laborer at the right brings in the first harvest.
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Murals
Summer - This is the period of the year when man amuses himself, when the games are in progress. One sees the disc thrower at the left resting after the game. Summer is crowning the victor of the canoe race.
Fruition - Fruits, vegetables, flowers fulfill the meaning of the subject.
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Now pass out into the open to the niche at the left of the gateway of the east.
In the niche is Autumn, a mature figure indicative of the maturity of the year. (Mr. Piccirilli calls her Providence.) It is the time of the harvests. The apples, the grapes, and even the human family are being harvested. The wine is being made and the great vine-decked jars are filled with the ruby fluid.
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Murals
Autumn - The colors speak of autumn. Here is seen the amphora of wine, the tambourine, the rhyton, the Greek drinking horn, and the raised Greek cup - all suggesting the time of festivity after the harvests.
Harvest, and one sees the garnered wheat and vegetables.
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Standing between the two central columns and looking toward the half dome, the eye wanders to the summit, and there, seated on her great cornucopia, the symbol of abundance, is Harvest with her plenteous supply of luscious fruits.
The dates from the south are being borne in on one side, while the great sheaves of wheat are seen on the left.
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Standing on the pedestal at the right of the half dome is Rain (byAlbert Jaegers) catching the drops in her shell.
Sunshine (by Albert Jaegers) shielding her eyes with the long palm branch - the rain and the sunshine so necessary for the harvests.
Walk over to see the detail of the capitals and bases of the columns.
On the capitals of these pedestals, on which Rain and Sunshine stand, are the small figures of harvesters - a most charming, original treatment.
At the bases one sees harvest scenes.
The agriculturists pass along to their labors. The women and children accompany the laborers, expecting to help in the many duties of the harvest field. The dog, wagging his tail, follows after the children, and all is activity.
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You will now find it convenient to examine the murals on either side the great half dome.
Facing the Dome.
On the right is Man Receiving Instruction in Nature's Laws. The work is perfectly plain. You could not go astray if you simply read the inscriptions.
An interesting thing to notice is that "Mother Earth" is a man bearing fruits and that "Father Neptune" is a woman with a trident.
Nature's laws are applied to:
Earth, Water, Fire.Love, Life (protecting the flame of life) and Death.
On the left is:
Art Crowned by Time.
The queen of art with her sceptre and palette (with the suggestion of architecture in the temple in the background) is crowned by Father Time, holding his hour-glass. His scythe is seen in the background. Time is bestowing the laurel wreath. At the sides stand the arts of -
Jewelry making,Weaving,Glass making,Painting,Smithery,Pottery.
The emerald pool is before you wreathed with the cotoneaster bufolia with its wealth of red berries.
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Pass now to the last season of the year in the niche to the left of the half dome, Winter.
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Before you is naked winter. Back of her is the leafless tree, with splitting bark.
At the left one feels that man rests after the activities of the harvest season, but there is an added idea in Mr. Piccirilli's words, "In winter, the central figure is Nature resting, or rather in a state of conception. To the right an old man is resting after having prepared the soil for the seed; at the right a strong man is sowing."
Murals
Winter with the snow on the ground.
The fire is necessary; faggots have been gathered; the animals are brought in for the winter food.
The time for spinning has arrived during the long winter evenings (considering the life of today this idea is almost obsolete).
Festivity - Winter strikes the strings of the harp and gaiety is about to glide forth.
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The seasons are again suggested by names of the signs of the zodiac on the gateways,
Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius,Capricornus, Aquarius, Pisces.
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Look thru the entrance into the Court of Palms at the HorticulturalPalace across the way - a fine green and white picture.
Turn back into the Court of the Four Seasons and below the half dome will be seen Albert Jaeger's
Nature (there is a great probability that this will not be placed).
Mother Earth, the great mother, sits in the center.
On the left, carrying the shell, is the Sea.
On the right, upholding the globe, is the Heavens.
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Read the quotation from George Sterling's "The Triumph of Bohemia" to make the connection with your Nature group:
"For lasting happiness we turn our eyes to one aloneAnd she surrounds you nowGreat Nature, refuge of the weary heart, and only balm to breasts thathave been bruisedShe hath cool hands for every fevered browAnd gentlest silence for the troubled soul."
Near by are August Jaeger's figures of Abundance, four times repeated on each gateway; also his spandrel figures, still adding harvest thoughts.
Walk along the colonnade to the right -
As you pass the fountains, you will notice how the water slips its silvery pink reflection from the wall down the terraces into the pool below, producing almost a sunrise or a sunset effect.
The long hanging vine on the wall above is muhlenbeckia, the so-called maidenhair vine.
The shorter vine is lotus bertolletti, showing later its red claw-like flowers.
Court of Palms
As a balance to the Court of Flowers at the east end of the block of palaces is the Court of Palms at the west end.
The general effect in color of decoration is pink and blue.
The columns are coupled Ionic of smoked ivory, producing a most lovely effect against the pastel pink walls back of them.
The caryatids lining off the pink and blue marble panels show a soft flush of pink. (These are by A. Stirling Calder and John Bateman.)
The festoons of fruits at the side of the panels are accented in deeper blues and soft reds.
Notice the delicate figures on either side the cartouche over the portals. The pinks and blues are so delightfully combined.
Between the columns, against the wall, are balled acacias.
The Pool in the center of the Court might be called The Pool ofReflections.
In front of this Court is "The End of the Trail," by James Earle Fraser.
Before you is the end of the Indian race. The poor Indian, following his long trail, has at last come to the end. The worn horse and its rider tell a long, pathetic story.
By the entrances are great vases on which in low relief are Bacchanalian scenes. Satyrs form part of the handles.
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Over the doorways are beautifully colored murals.
On the west -
Fruits and Flowers, by Childe Hassam, a fine area of superb color.
On the east -
The Pursuit of Pleasure, by Chas. Holloway, gracefully carrying out the idea of this court.
On the north -
"Victorious Spirit," by Arthur F. Matthews.
This wonderful golden note represents the Victorious Spirit, the Angel of Light, with widespread wings of protection. She is the means by her gentle influence of keeping materialism (represented by the horse driven by brute force) from riding over the higher expressions of life.
Muhlenbeckia borders the pool, producing a most fernlike effect.
At the side, in front of the flanking Italian Towers, are erica and epacris, in lavenders and pinks, accented by deep lavender pansies.
The tiny border to the beds is myrtus ugni. The wallflowers, interspersed with Spanish and English iris, are massed thruout this court, with rhododendrons in the corners. Against the foundations is pink-and-cream lantana.
The Palm is the strong feature of the court. On either side the portalItalian cypresses have been used.
The lanterns in the corridors have been modeled from Roman lamps, and are particularly beautiful in perspective.
The Court of FlowersDedicated to the Oriental Fairy Tales.
This exquisite court is by Geo. Kelham of San Francisco, who came from New York just after the San Francisco fire to help in the reconstruction of the city.
He is a man of pronounced ability and has just won in the competition for plans for the new San Francisco Public Library.
The court is made one of great beauty by the collaborated work of Mr.Geo. Kelham, the architect; Mr. Jules Guerin, the colorist, and Mr. JohnMcLaren of San Francisco, the chief of landscape gardening.
A loggia runs around the second story of the court, interrupted alongthe face by niches which hold "The Oriental Flower Girl," designed byMr. A. Stirling Calder of New York, but worked out in the studio of theExposition.
Coupled columns, suggesting glacial ice, form a colonnade around three sides of the court, the fourth side opening into the Avenue of Palms.
As you walk down the main path of this court you are held spell-bound by the fairy-like appearance of the albizzia lophantha, trimmed four feet in height, the top of which branches out into a head five feet across.
One has the feeling of meeting fairies with their skirts out ready for the dance - a veritable fairy ballet. Nothing could be more lovely than this remarkably treated tree. The rich yellow fluff that will soon appear, lasting for some four to six weeks, will be one note of the yellow chord to be struck in this court-pansy, daffodil, albizzia, the orange and the yellow background of niches. (This floral music for March and April.)
A symphony in yellows.
The groups of trees at the north are the eugenia myrtifolia.
Every one appreciates the blessing of the trees and flowers, without which the Exposition would have lost much of its beauty.
The flowers used at the opening of the Exposition can alone be given, but these will serve to show the plan of arrangement.
The six lions are by Albert Laessle, who has many fine examples of his animal life in the Fine Arts Palace.
The fountain of Beauty and the Beast, which should have been placed inthe Court of Palms, the Court of Occidental Fairy Tales, is by a youngSan Franciscan, Edgar Walters, whose fine bears can be seen in the FineArts Palace.
The base of the fountain shows a procession of beasts - the bear, the cynocephalus ape, the lion.
Upholding Beauty and the Beast are fauns and satyrs, playing on their pipes.
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Walk down the colonnades and take note of the coupled smoked ivory pilasters on the pink ground.
A fawn-colored ceiling has suspended from it Italian bronze lanterns - the bronze suggestive of the color of the blue eucalyptus. At night these lanterns glow with color.
In front of the Court of Flowers is "The American Pioneer," a fine meaningful equestrian figure, by Solon Borglum of Ogden, Utah.
I am taking the liberty of quoting Secretary Lane's inspiring words given at the opening of the Exposition - a fine retrospect that we must not lose sight of when we look upon the determined woodsman of the early American life:
As I went through these grounds yesterday, I looked for some symbol that would tell me the true significance of this moment, I saw that the sculptor had carved prophets, priests and kings; he had carved the conquerors of the earth, the birds in the air and the fish in the sea. He had gone into legend and history for his symbols, but in none of these did I find the suggestion that I sought.
I found, however, in the court that lies before us, the simple, modest figure hidden behind some soldiers - a gaunt, slim, plodding figure, and I said to myself, there is the figure that represents this day, for without the American pioneer we would not be here this day, no banners would be flying, no bands playing.
He has-lived for centuries and centuries. He took sail with Ulysses and he was turned back. He took sail with Columbus, and when he heard that sailor shout, "Sail on and on," his heart was glad; but Columbus found his way barred, and then this pioneer landed at Plymouth Rock, and with that band of oxen he has trudged his way across the continent, he has gone through the sodden forests, where Nature for a thousand years has conspired to make his pathway impossible.
He has gone through the icy streams, climbed the mountains, tracked his way over the plains, over the land where there is no horizon, gone through the gorges where the Titans have been, and at last he has got it, beside the Golden Gate, beside the sunset sea, and founded himself this city, this beautiful city of dreams that have come true. And he has done more than that, he has gathered around himself his sons, and now they set themselves down here to tell each other tales of their progress through the centuries.
The sons of the pioneers - theirs be the glory today, for they have slashed the continent in two, they have cut the land that God made as with a knife, they have made the seas themselves to lift the ships across the barriers and mountains, and this accomplishment we celebrate.
They have brought the waters of the far Sierras and turned these waters into living light that put new stars in the heavens at night. They have hung their sky-line with a garden of flowers; they have worked a magic. They have gathered here in all these temples to tell their victory - the pioneers - what they have done and in what manner. This city has been finished in blue and gold, in scarlet and purples and the greens of the sea, and burnt brown, and the scene shown the pioneer has made the architecture of the centuries to march before their eyes in columns and colonnades.
The long journey of this light figure of the pioneer is at an end, the waste places of the earth have been found and filled, but adventure is not at an end; the greatest adventure is before us, the gigantic adventures of an advancing democracy - strong, virile and kindly - and in that advance we shall be true to the indestructible spirit of the American pioneer.
The Italian Towers
Architect - Geo. Kelham of San Francisco.
Architecture - Italian Renaissance with Byzantine touches. (See picture facing page 22.)
These very beautiful towers are seen in pairs on either side The Court of Flowers and The Court of Palms, and assist in the fine balance preserved thruout the block of palaces.
They are not alike, as you will see when you examine them. The pair flanking The Court of Flowers is far simpler, and produces quite a different effect, when illuminated, from its sister towers.
The vibrant red that seems to give throbbing life to these beautiful towers is one of the chief glories of the night-glow.
The entrances at the base of the tower are accented by magnificent Siena marble columns, and the coloring from these entrances to the top of the towers is most unique.
The long rectangular height is admirably treated with a most original diaper design.
Jules Guerin, the colorist, has used small areas of color on the towers to play upon the color of the courts below.
For instance, note the pastel-pink walls, the greatest color area of the courts reflected, as it were, upon the largest colored area of the towers; the travertine of the courts acting as a background for the towers, the burnt orange capitals shown in the use of the same color on the tower, the Indian red appearing through the design as it appears on the capitals.
The result is a sort of dissonance that makes the harmony of the courts more charming than ever.
The most adroit management of the blue-checkered border is seen. It is the means of drawing your colored diaper work toward that blue background, the sky, and is superb in its connecting force.
The little towers above, with the turquoise-blue columns, show a most daring use of color when you consider the colors below, but how admirably that turquoise blue works onto the domes and the blue columns of The Tower of Jewels.
The longer you look at the Italian Towers the more you come to feel their subtle connection with the beauties around.
Only a genius could manipulate his colors as Jules Guerin has done in this splendid work before you.
The repeated cartouche in turquoise blue has a most lovely effect upon the whole.
Poised on the top of the Italian Towers is The Fairy (by Carl Gruppe).She looks afar and sees the vision of this wondrous Exposition.
The Palace of Fine Arts
Architect - Bernard R. Maybeck of San Francisco.
Architecture - Old Roman in the main, with Italian Renaissance features.In the background is the fire-proof art gallery of 113 rooms.
In front is a pergola, extending along an arc 1100 feet from end to end.Ochre columns are closely grouped with pale green ones.
The Roman Corinthian capitals are burnt orange with an Indian-red ground.
The columns sweep forward on either side the rotunda, in the dome of which are Robt. Reid's eight murals.
1st Panel - Birth of European Art.
The central point of the picture is the altar on which is seen the sacred fire. The guardian of this altar holds the torch. She has three attendants, one holding a flask of oil, one pouring oil upon the altar and ready to apply the torch should the flame grow dim, a third one carefully watching the flame. An earthly messenger, holding back his rearing steeds, leans from his chariot to receive the torch of inspiration. A winged attendant checks for an instant the flight of these steeds. In the left corner a woman holds a crystal ball in which the future of art is revealed.
2nd Panel - The Birth of Oriental Art.
The forces of earth try to wrest inspiration from the powers of the air.This is shown in an ancient Ming legend.
We see a Chinese warrior, mounted on a writhing dragon, combating an eagle. Japan is seen under the great umbrella. Two more Oriental figures are seen.
3rd Panel - Ideals in Art.
Greek ideal in the classic nude is seen.
Religion - Madonna and Child.
Heroism - Joan of Arc.
Youth and Material Beauty - Young woman on the left.
Absolute nature without ideal or inspiration - peacock.
Mystic figure in background holds cruse of oil to pour onto the sacred flame.
A winged figure floats above with laurels for the victorious living.
A shadowy figure in foreground holds the palm for the dead.
Panel 4 - Inspiration in All Art -
Music, Painting, Architecture, Poetry, Sculpture.
The torch that kindles the arts is again seen.
The veil of darkness is drawn back, revealing the arts.
There are also four panels showing the four golds of California -
Gold,Wheat,Poppies,Oranges.
"The whole scheme is to show the conception and birth of art, its translation to earth, its progress and acceptance by man."
Below these murals, on the octagonal drum, is The Priestess of Culture, by Herbert Adams, eight times repeated.
This outline has been taken from the official report.
The dome of the Rotunda is burnt orange, with the guilloche below it worked out in turquoise green. Notice the great flower receptacles filled with the reddish cryptomeria of Japan.
In front of the Rotunda is Ralph Stackpole's Kneeling Figure. She is a devotee to art, beauty, truth, and kneels at the altar.
Among the trees along the pergola are many statues in bronze and marble.
Don't fail to see Janet Scudder's bewitching fountain figures as you walk past the Pergola.
At the south, near the Pool, among the trees, sits St. Gauden's fine"Lincoln."
Opposite is J. Q. A. Ward's statute of "Henry Ward Beecher."
Around the corner, "The Bisons," by Proctor.
Follow along by the Pool and you meet "The Scout," by Cyrus Dallin.
No words can describe the great poetic beauty of this Fine Arts Palace. It seems to be the pivotal part of the Exposition, the goal of all pilgrimages, the altar on which you place your ideals. It has so many moods that one must see it in all seasons, during all times of the day, and especially under the illuminations.
The figure of "Aspiration," by Leo Lentelli, is suspended - as is all aspiration - over the main entrance of the Fine Arts Palace.
Walk over to Administration Avenue so that you can look across the Pool at the panels.
They are by Bruno Zimm of New York.
They represent the Arts and a long procession of devotees.
In the center of one panel, called "The Unattainable in Art," one sees Art represented. On either side is the battle between the idealists, the materialists and the artists.
Many idealists have fallen, but the centaurs, the materialists, seem to be held back by the artists who are striving to reach Art herself.
We are all striving to reach the so-called unattainable, but it means the battle with materialism before we can do it. Yonder stand beauty, health, truth - the flowers of the spirit - but we must pass the centaur to make that figure of Truth attainable.
Then comes the Apollo Panel, and Apollo, the leader of the arts, in his chariot, seems to be in a long procession preceded and followed by devotees of the fine arts.
Next comes the Pegasus Panel, indicating inspiration in the arts. Ahead, marches Music with his lyre, who, like a sort of Orpheus, is stilling even the beasts.
The figures between the panels represent those who stand ready to do battle for the arts.
Ulric H. Ellerhusen has done the flower boxes, with women at the corners. Vines were to have fallen over the figures from the boxes, allowing only a shoulder, a head, or a long line of the drapery to appear, but the plans had to be changed, hence the figure now in full evidence. The women are looking into the flower-laden boxes.
As you stand by the Pool, notice the shrubs and flowers near by.
Near the columns are Monterey cypresses.Grey-green artemisia is between the columns.Ten thousand periwinkles are on the banks.Five thousand Spanish iris.Many Japanese iris.California incense shrub.Yellow primroses.One thousand white callas.One thousand yellow callas.One thousand California violets.The shiny-leaved coprosma from Chili.Blue-flowered buddleia.Groups of pittosporum.Pampas grass from Brazil.Hundreds of daffodils (in March).The weeping willows.
A great group on the north of erica, epacris, and cryptomeria.
Across from the erica is the red-berried cotoneaster horizontalis.
Near the columns on the north side by the Pool grows the purple agapanthus.
The Catalina cherry is massed against the building on the north.
The pink-flowered escallonia is found under the columns near the Pool. The orange-berried pyracantha cretaegus is seen in all its glory on the north.
Heliotrope makes the air one of sweet perfume. Polygala, with pea-like blossom, is seen near the base of the columns.
In the Pool have been put five hundred papyrus plants and five hundredJapanese water lilies.
These are a few of the many wonderful blooms seen here.
The vistas and reflections are ever new and beautiful from every turn of the Pool.
Palace of Horticulture
Architects - Bakewell and Brown of San Francisco.
Architecture - Byzantine in the arrangement of the domes (the mosque of Ahmed I of Constantinople being the inspiration) and in the use of tall finials suggesting minarets, but quite French in its ornamentation.
The building is one of great beauty and is considered one of the finest exhibit palaces ever erected at any exposition.
The ornamentation below the dome is by Boutier.
The Caryatids of the Caryatid Porch are by John Bateman of New York.
The great opulence of the harvests of California is brought to mind by the lavish abundance of the ornamentation on this building.
The combination of the smoked-ivory color of the travertine and the lattice green of the decorations produces a more lovely effect.
The basket atop is over thirty-three feet in diameter.
The dome is 152 feet in diameter. St. Peter's dome is 137 feet; thePantheon dome is 142 feet.
Under the dome will be a constant display of hothouse plants. At the opening of the Exposition were seen cinerarias and cyclamen of glorious hue.
A wonderful display of orchids is seen in another portion of this great building.
Those interested in orange packing will have a chance to see the different stages of the packing as shown from the arrival of the fruit at the packinghouse to the nailing of the cover on the box.
A model olive-oil press is in working order and will afford great interest.
Great steel framework will enable the vast amount of glass of the dome to withstand the wind pressure.
The dome will be illuminated three times a week.
It will at times look like a great pearl or a fiery opal.
Luther Burbank, the wizard of horticulture, and Carl Purdy, of bulb and wild flower fame, will have headquarters at this palace during the entire Exposition, ready to answer and help those who apply to them.
Sixty-five acres of land are to be devoted to horticultural interests.
The Netherlands have fifty-three thousand square feet in a wonderful display of bulbs and other plants.
Horticultural Interests
All the areas on the Exposition site were composed of drifting sands or sands that had been pumped in from the bay, upon which no ornamental plant could grow.
It was necessary to bring down from the Sacramento Valley rich soil (fifty thousand cubic yards), and spread sixteen thousand cubic yards of fertilizer over that, in order to maintain lawns, trees and shrubs.
An immense number of trees, ranging from thirty to sixty feet in height, were moved from Golden Gate Park and the Presidio of San Francisco. It is the largest number of evergreen trees ever moved in connection with any landscape work.
Many plantings will be made thruout the Exposition. It will require the moving of four hundred thousand plants each time a change is made.
Work on the eucalyptus trees was started two years ago, when the plants were six inches high, in flats.
These little trees were transferred into other flats and placed on hot beds. After six weeks of this treatment they were transferred to 12-inch boxes. They remained there for a period of eight months and then were put into 18-inch boxes and made a vigorous growth. They are now 25 feet in height.
In boxing large specimen trees the following method was adopted: The trees were side-boxed, and, after the roots were cut, three inches of space was allowed between the ball and the sides of the box, and this three-inch space was secured with good surface soil so as to start side-root action.
The plants were mulched and watered for a period of from four to six months, when the bottom of the box was put on. This method has been most successful in transplanting palms and trees in general.