Maybeck's Palace of Fine Arts is so overwhelming in its architectural effects that one seldom feels like doing justice to the fine sculptural detail everywhere in this building. Ralph Stackpole's interesting Shrine of Inspiration is the most charming bit of sculpture, more detached in its effect than most of the other motives. Bruno Zimm's eight fine friezes, showing the development and influences of the arts in a very severe, almost archaic style of modeling, add a fine note to the dome, and Ulric Ellerhusen's equally architectonic friezes are in good style and are in thorough harmony with the classic quality of this great palace.
It is, of course, not possible to name all of the many pieces of architectural sculpture used at the Exposition. The general effect one receives is that it represents the best that is possible in Exposition sculpture today. It gives evidence of the increasing development of the qualities of design, as contrasted with the so much looser work of former expositions. Seldom before have sculptors anywhere, since sculpture and architecture first worked hand in hand, so played their most important roles together in the ensemble setting that constitutes our Exposition visually. On arch or column, in niches, in fountains, and in free-standing groups, they sing of many themes, and always in harmony, but with no loss of character or individuality. There is no doubt of it, that, for an Exposition, sculpture is the most important of all the arts, because it is the most human. Without it, architecture would be cold and without appeal. I foresee a great future for sculpture in America, where our temperament demands it. The educational value of sculpture at an exposition is incalculable. It is a school for the sculptors, too, as well as for the public.
The Color Scheme & Landscape Gardening
Nothing excites the Exposition visitor more than the color scheme of the buildings. But "excite" is really not the proper word, because there is nothing exciting about it. Nothing was farther from Mr. Guérin's mind than to create excitement, unrest, or any of those sensations that might lead to fatigue or even to a nervous breakdown. We understand fully by this time that it was Jules Guérin who is the responsible artist, and who supervised the putting into existence of the first real "Guérin" that ever was. Mr. Guérin has the distinction of being the first director of color and of decoration ever appointed for an international exposition.
It must become evident to any person who is at all familiar with the fascinating tonal designs Guérin produces for many of our leading magazines that what he did was nothing but to paint nature as he has been used to represent it in his pictures. Guérin must have had a glorious time with that first great opportunity, so seldom to happen, of putting all those pet colors of his into the actual outdoors, there to feast his eyes upon them. It was a daring and novel undertaking, most successful in a large way. I hope we are going to benefit by this successful experiment and begin to give life to our dreary cement façades, mournful roofs, and lifeless window-sashes, ornamentations, and what not. We are, I admit, hopelessly at the mercy of the housepainter, who knows much about estimates, something about paint, and little about color. I hope we are going to learn the difference between paint and color, the purely physical, meaningless thing on the one hand, and the intelligence-conveying, pleasure-giving element on the other.
Guérin certainly knows color, and I take it for granted that a man of his training and experience knows how to use paint. His exposition buildings look for all the world like a live Guérin print taken from the Century Magazine and put down alongside of the bay which seems to have responded, as have the other natural assets, for a blending of the entire creation into one harmonious unit. I fancy such a thing was possible only in California, where natural conditions invite such a technical and artistic innovation.
The general effect is one of great warmth. The basic tone of the travertine furnishes a very rich foundation for the other colors added. The whole range of color is very simple and it is simplicity and repetition over large areas that make the colors so effective. There are three different greens, for instance - the patina green on many minor domes, suggesting aged copper surfaces; a very strong primary green, on the small doors of the palaces and most of the lattice work; and another very pale, pinkish green, a sort of an abalone shell green, used on all the flagpole bases, always topped off with a light pinkish red, used above the light green base on all the flagpoles.
Then there are the reds, a number of different reds, running from a pinkish brick color to a darker russet red, to be found exclusively in all vertical panels serving as background for detailed statuary - for instance, in all the courts. Next to the red there is a brilliant orange, used in relatively small quantities here and there in the mouldings, as around the Brangwyn paintings in the Court of Abundance.
This leaves yet to be named the few soothing blues that abound in the ceilings, in the deep recesses of the walls, and the coffered arches, serving as backgrounds for the many richly-modeled terra cotta rosettes.
This is practically the entire range of colors, but they assume, of course, endless variations of tone and intensity, owing to the difference of the surfaces and the play of light and shadow. The relation of the whole color scheme to the colors furnished by nature is by no means accidental. The effect of the ensemble, on a calm, sunny day, is hard to describe in its gorgeous beauty.
The pressing into service of nature as applied to color was particularly inviting, of course, on the bay side, where simple sweeps of skies, foothills, and plain bodies of water furnish almost ideal conditions. This is true in a similar way for the background in the west, but toward the south - well, we had better forget such mournful outward aspects of our great city of San Francisco, known around the world for its gay temperament.
Appreciating the importance of detail, Guérin extended his color treatment to practically everything presenting surface. Nothing could escape his vigilant eyes. Even the sand covering of the asphalted roads is of a peculiarly attractive blend. It seems like a mixture of ordinary sand with a touch of cinnamon. Even that corps of stalwart guards had to submit to a tonal harmony of drabs, with touches of yellow metal, warm red puttees, and neat little yellow Spanish canes. They all seem very proud and appreciative of their part in the concert of colors. And they speak of it with feeling and reverence. Not long ago, during a rather stormy, wet day, I happened to notice several of these cicerones hiding in a doorway of one of the palaces, looking most disconsolate. The reason for it became immediately apparent; the un-Californian weather had forced them to put on civilian overcoats of indescribable hues, and the shame of being out of color was plainly written in their faces. It shows that art is largely a matter of education.
I fancy that all that a respectful and appreciative public could do, in order to live up to the occasion, would be to have Exposition suits built of pongee silk, or some other harmonious material. So far, on all of my visits, I observed a shocking preponderance of black, which I hope will eventually yield to the softer colors of lighter materials, with the arrival of warmer weather.
The careful observer will find that the crimson vermilion red of the fire alarm boxes had to yield to a more refined vivid orange, much, I understand, to the consternation of the Exposition fire marshal, who must have been shocked at this intrusion.
The horticultural effect of the grounds, flower beds, and shrubbery will always adapt itself properly to the color scheme, and a preponderance of warm yellows, reds, and orange will simultaneously fill out the garden areas. At first yellow pansies and daffodils had control, to be replaced in due season by the uniform appearance of tulips, hyacinths, and successions of other flowers. This progressive appearance of new flower carpets will provide ever-changing elements of interest throughout the entire period of the Exposition.
It seems only right at this time to speak of the great and modestly contributed services of John McLaren. He, with his wide experience and unceasing energy, created the garden setting which ties all the buildings into a natural harmony. Hardly ever have trees, shrubs, and flowers been used in such profusion in an Exposition. Conventional in aspect, all great expositions in the past have been lacking in the invigorating elements, no matter how naturalistic the site may have been. The few scraggly pines of St. Louis looked more like undesirable left-overs of a former forest than like a supporting feature of the Exposition picture.
The stony look of many former expostions is not evident at San Francisco. Considering the fact that the exposition is largely on made ground, it is amazing what has been accomplished. With the exception of the few scattering remains of an old amusement park - the Harbor View Gardens - so charmingly utilized in the courtyard of the California building, practically all the trees and shrubs had to be brought in from the outside. How well Mr. McLaren succeeded in moving whole gardens "en bloc" to the Exposition is shown by the fact that with the exception of a few Monterey cypresses on one of the lagoon islands, not a single tree has died. It was no small task to transplant eucalypti forty feet high, and aged yew trees, and the tradition that it is impossible to transplant old trees has again been demonstrated as in the same class with other old sayings based on the experience of the past, but applying no longer to our own conditions.
The stately rows of palms on the south avenue contain some specimens of the Canary Island palms which must be nearly forty years old, and some of the yews in the colonnade between the Court of the Four Seasons and the Marina, near Miss Longman's Fountain of Ceres, are probably even older. The massing of large groups of black acacia, Monterey pines, and cypresses, filled in at the edge with veronica and many other flowering shrubs, gives many interesting notes, and serves frequently as backgrounds for statuary.
Like everything else, from the architecture down, the garden aspect of the Exposition is not frugal nor skimpy, whatever floral effects are used. Like shrubbery, trees occur in great profusion, and without regard for difficulties in transplanting.
The Court of the Universe did not receive the generous treatment from Mr. McLaren that it almost cries for. The few isolated Italian cypresses in the Court, near the tower, no doubt help a good deal, but one is tempted to ask why there are not more of them. Italian cypresses are hard to transplant, particularly if their feet have become accustomed to the peaceful conditions of Santa Clara Valley cemeteries, where most of them, I understand, enjoyed an undisturbed existence until they were used so very effectively in the Exposition. These successfully moved old trees are by far the most useful trees in architectural schemes, as anybody who knows the Villa Borghese in Rome must admit.
I would like to see a law passed that every person at a certain age must plant six Italian cypresses. I humbly suggest this to our legislators, who seem to be suffering from a lack of measures to be introduced and passed for the benefit of the people.
The Italian cypress is our most picturesque tree, and for combination with architecture, is unrivaled by any other tree. They grow rather slowly, but do not take much space, on account of their vertical habit. The making of the Court of Palms is due largely to the liberal use of these elegant trees, with their somber stateliness.
The lover of outdoors will find no end to his pleasurable investigations in the many fine, luxurious groupings of flowering shrubs. Heather, which does so well with us, and blooms when only few flowers brighten our gardens, has been profusely used in solid beds at the base of the Kelham towers, around Festival Hall, and in many other places. The dainty, glistening foliage, interspersed with red berries of another acclimated alien from the Himalaya Mountains - the Cotoneaster - makes fine borders around the pool in the Court of the Four Seasons, in the Court of Palms, and in several of the colonnades.
Evergreen plants and shrubs are the dominant features of the two Italian Avenues connecting the big court with the side courts. The rich and luxuriant carpets of the many varieties of box, thuya, taxus, and dwarf pine, in dark, somber greens and many lighter color variations, are superb.
In the Court of Abundance great masses of orange trees furnish the dominant note. They are most effective with their branches heavily laden with fruit. They are not only a surprise to the outsider, but even to the Californian, who wonders at the skill and experience which made this feat possible.
Mural Decorations
In connection with the color, scheme, the mural decorations invite attention at many places. The outdoor character of the Exposition has given unusual locations to some of these decorations. There are in all some thirty. Mr. Guérin, as the director of color, had full charge of their production, and all of them were painted by men he trusted personally as regards their ability to execute and to finish on time. That his choice fell largely on Eastern men was only too natural.
Few people have a proper idea of the magnitude of the work involved in painting a huge decoration, and Mr. Guérin can hardly be blamed for his choice of the men of experience who finally did the work, although not all of them justified the confidence placed in them. The work of painting such huge decorations is necessarily a big undertaking, involving many preliminary studies and much physical and mechanical labor in the end. Many painter-decorators employ large numbers of trained men, apprentices and independent artists, to assist in the execution of their commissions, and very frequently the temptation of yielding the pleasure of execution to other hands is the cause of the lowering of standards.
Probably, none of the canvases by Mr. Robert Reid, in the dome of the Fine Arts Palace, can be said to do justice to the remarkable decorative talent of Mr. Reid. He is so well and prominently known as a painter of many successful decorations, in the East, that it is to be regretted that he was not in a happier mood when he came to the task of painting his eight panels of irregular shape for the Exposition.
The very scattered style of painting so effective in many of his easel paintings, which show all the fine qualities of a modern impressionistic school, is not of great help in pictures intended to be viewed from a great distance. His decorations present very little opportunity for the eye to rest upon them, and they are altogether too involved, in their turbulent compositions. Their color is not unattractive, no matter how cold, and of sufficient interest to atone for the lack of dignified design. The subjects of all of these are by no means unattractive, and a description of them reads far better than the pictures look.
The birth of European art is symbolized in the first panel. There are five dominant figures, grouped about an altar on which burns the sacred fire. An earthly messenger leans from his chariot to receive in his right hand from the guardian of the flame the torch of inspiration, while with his left hand he holds back his rearing steeds. In front of these a winged attendant checks for an instant their flight. The central figure, the guardian of the altar, still holds the torch, and below her are three satellites, one clasping a cruse of oil, another pouring oil upon the altar, while she holds in her hand a flaming brand, ready to renew the flame should it falter, a third zealously watching the fire as it burns. Opposite these a figure holds a crystal gazing-globe, in which the future has been revealed to her, but her head is turned to watch the flight of the earthly messenger.
The birth of Oriental art is symbolized in the second panel. The forces of the earth, wresting inspiration from the powers of the air, are pictured by a contest between a joyous figure in ancient Chinese armor, mounted upon a golden dragon, combating an eagle. A female figure under a huge umbrella represents Japan, while on either side are two other Oriental figures, in gorgeous attire, symbolic of the long periods of Oriental art.
The third panel represents the Ideals in Art. There are seven figures, the Greek ideal of beauty dominating all in a classic nude. Below this Religion is portrayed, in a Madonna and Child. Heroism is shown in Jeanne d'Arc, mounted on a war-horse and flinging abroad her victorious pennant. A young girl represents youth and material beauty, while at her side a flaunting peacock stands for absolute nature, without ideal or inspiration. A mystic figure in the background holds the cruse of oil. Over all of them floats a winged figure holding a laurel wreath for the victorious living, while a shadowy figure in the foreground holds a palm for the dead.
The fourth panel represents the inspirations of all Art, five figures symbolizing Music, Painting, Architecture, Poetry, and Sculpture. Flying above these are two winged figures, one holding a torch flaming with the sacred oil that has been brought from the altar, the other drawing back the veil of darkness, revealing the tangible, visible expression of Art to mortal eyes.
The four single panels symbolize the four golds of California; the poppies, the citrus fruits, the metallic gold, and the golden wheat. The idea of the four golds is particularly novel and will some day yield far more interesting results, and I hope the subject will not be allowed to lie idle. It is a very fine idea, too good not to be used permanently in some dignified building in California.
The Court of the Four Seasons offers a decorative scheme of eight panels above the doorways in the colonnades and two large panels in the orchestral niche on the south. All of these ten paintings were done by Milton Bancroft, one of the younger of the Eastern decorator-painters, who took his task seriously enough, without rising in any of his decorations above the conventional, with the exception of the "Autumn" and the two larger panels in the half dome.
All of the seven decorations belonging to the set of eight smaller ones are rather academic in their monotony of symmetrical compositions, not sufficiently relieved by variety of detail. These decorations have to excess what Reid's decorations are lacking in, namely, repose. Their coloring is quiet and in thorough harmony with the architecture.
Bancroft's two more importantly placed decorations are, fortunately, his best efforts. "Art Crowned by Time" and "Man Receiving Instruction in the Laws of Nature" are very effective in their stateliness and thoroughly decorative quality. They show the artist's allegiance to the great decorations of the Renaissance in many quaint ways of filling out the background spaces by puttos holding tablets, simple bits of architecture, and conventionalized trees. His figure of "Art" is unique among his figures in the decorative pattern used on the mantle which falls gracefully from her shoulders. All the other Bancroft decorations are devoid of this use of surface patterns, which are so helpful and interesting in decorative arrangement.
It is only a few steps from the Court of the Four Seasons into the Court of Palms. In entering through the orchestral niche one passes directly underneath the lunette which holds the very decorative canvas by Arthur Mathews, the acknowledged leader in the art of California. It must be said that it does not seem right, in the light of what has been contributed by men from elsewhere, that Mathews' superb talent should have been employed only in one panel. His "Victorious Spirit," a rich and noble composition, has certain enduring qualities which are not to be found in a single one of any of the others. Simply taken as a decoration, his picture is most effective by its richness of color, and without going into the question of its meaning, it is thoroughly satisfactory as a decoration.
Childe Hassam's lunette, said to represent "Fruit and Flowers," is almost anaemic alongside Mathews' fullness of expression. Nobody ever suspected Childe Hassam of being a decorator, no matter how admittedly important a place he holds in the field of easel painting. The composition of his decorations is frugal in every sense, largely owing to the small scale of his figures. In the physical center of the composition nothing of interest happens, and the composition breaks almost in two. The coloring is insipid, and altogether not in keeping, in its extreme coldness, with the happy warmth of the travertine surrounding it.
Directly opposite, Charles Holloway presents himself in a very happy painting called "The Pursuit of Pleasure." A study of this picture can result in nothing but complete satisfaction. It is well and interestingly composed, lively in arrangement, in good scale, and not lacking in a certain feeling of repose, so essential in a good decoration, and, for that matter, in any work of art.
In the great arch of the Tower of Jewels the most elaborate decorations of Mr. William de Leftwich Dodge, of New York, command attention first of all by their fine and lively colors. These decorations show a most experienced artist, treating a wide variety of interrelated subjects with great skill. These enormous canvases, sixteen by ninety-six feet in size, are divided into a triptych, each picture continuing its central scheme into two smaller side panels.
The great composition to the left is labeled "The Atlantic and thePacific," with a picture of "The Purchase" on the right and "TheDiscovery" on the left. Opposite we have the "Gateway of all Nations,"with "Labor Crowned" and "The Achievement" on either side.
Mr. Dodge has a very fine sense of decoration, which he used with much skill. His command of human forms, together with the complete mastery of all other detail, enables him to paint very easily decorations which leave no doubt as to his long and varied experience in this field.
"The Atlantic and the Pacific" is very interesting in its formal symmetry, splendidly relieved by the individual treatment of the eastern and western nations which receive with expressions of joy the completion of the great waterway which means so much for the furthering of their mutual interests.
"The Gateway of all Nations" on the opposite side is less symmetrical, but very well balanced in its arrangement of many elements, naturalistic as well as allegorical. On the left, in the middle picture, one sees the retiring forces of labor, proudly watching the great procession of varied ships, moving in a joyous parade, led by Father Neptune and attendants, towards the recently opened gate. Preceding Father Neptune are allegorical figures, rhythmically swinging away into the sky. All of Dodge's decorations are good for their sound decorative treatment, always sustaining well the architectural surrounding frame, so particularly important in this great and massive tower. Dodge's backgrounds are devoid of any naturalistic suggestion, which so often destroys otherwise effective decorations.
The function of a decoration must always be to preserve the feeling of the wall, as opposed to the work of the easel painter, who wants to assist in forgetting that there is a canvas and to suggest that we are looking into the far distance. A good decoration should, as it were, allow the driving of a nail into any part of its surface - it should not make a hole in the wall.
In the two triumphal arches of the Nations of the East and the West, Frank Vincent Du Mond and Edward Simmons, respectively, contributed to the scheme of decorations. In the western arch, DuMond painted a continuous frieze of the march of civilization towards the great West. His work is most conscientiously done, very intellectual, and most effective in color, as well as in arrangement. You see in his continued scheme the entire story of western development.
It begins with the youth departing from his old father, who only reluctantly - feeling the infirmities of old age - stays behind. Preceding the young man, the historical prairie-schooner, accompanied by pioneers, continues the procession. This is developed further in historical groups of soldiers, priests, and men representing the intellectual rise of the great West. There is William Keith, with the palette, Bishop Taylor, Bret Harte, Captain Anza, and other well known western figures, taking their place in the procession of tent wagons and allegorical figures, all striving towards that very fine group representing California in all the gorgeousness and splendor of the Golden State. This composition of "California," taken by itself, is one of the very best passages in the whole decoration, and could very effectively be used all by itself.
On the east, Edward Simmons presents two very charming compositions, full of great refinement and delicacy. The refined coloring of his decorations, so very delightful by themselves, is not in accord with the architecture, and in the overawing surroundings of the great arch they do not look as well as they might in a more intimate scheme of smaller scale. The one to the left, as seen from the Court of the Universe, tells of the dreams which led to the exploring and exploiting of the great West. Carefully designed figures of great refinement. represent "Hope" and "Illusory Hope," scattering tempting bubbles, heading the procession of stately women. They are followed by "Adventure," "Art," "Imagination," "Truth," and "Religion" and a group suggesting family life.
On the opposite side the westward trend of War, Commerce, Conquest,Imagination, and Religion from all corners of the earth is typified.
Mr. Simmons in all his work employs a very unusual technique of broken columns, without losing a certain desirable simplicity of surface. His allegorical theme on the north side will linger in the minds of the people as one of the best of the Exposition decorations, particularly for its graceful drawing.
It seems hardly possible to do adequate justice to the very unusual genius of Frank Brangwyn, who charms thousands of Exposition visitors with his eight panels, representing the Four Elements, in the Court of Abundance. Brangwyn's pictures have one great advantage over all of the others, which lies in their accessible location, well controlled by daylight. All the other decorations seem to me to be situated too high above the ground. Brangwyn's have no such disadvantage to contend with. How much more important, for instance, Mathews' lunette would look, placed somewhere nearer the level of the eye.
Brangwyn's canvases are a veritable riot of color, full of animation and life. They are almost dynamic. There seems to be something going on in all of them, all the time, and one hardly knows whether it is the composition, the color, or the subject, or all three, which gives them this very pronounced feeling of animation. He knows how to approach the extreme possibilities in pictorial decoration without losing sight of certain elements of repose. Seen from a distance, their effect at first is somewhat startling, owing to their new note, not reminiscent in the very least of the work of any other living - or past - painter. On closer examination they disclose a great wealth of form, very skillfully treated. There is every indication that it gave the artist the utmost pleasure to paint them. This spirit of personal enjoyment, which all of them convey in a remarkably sustained fashion, is contagious, and disarms all criticism. They are primarily great paintings in a technical sense. Added to that quality is a passionate love of pure color, juxtaposed with fine feeling for complementary colors of great intensity.
Brangwyn's glass window technique, of separation into many primary and secondary colors by many broad contrasts of neutral browns and grays, is very effective in bringing a feeling of harmony in all of his paintings, no matter how intense their individual color notes may be.
His pictures are not intellectual in the least, and all of the people in his pictures are animals, more or less, and merely interested in having a square meal and being permitted to enjoy life in general, to the fullest extent.
The quality of enjoyment that runs through all of Brangwyn's work is extremely useful in the general atmosphere of Mullgardt's court. In the northwest corner, Nature is represented, in all the fecundity of the earth. Only in our wildest dreams, and only in the advertisements of California farm lands and orchards, do such grapes, pumpkins, pears, and apples exist.
The picture to the left shows the grape-treaders, in the old-fashioned and unhygienic practice of crushing grapes by dancing on them in enormous vats. Others are seen gathering and delivering more grapes. As in the other picture, showing the harvest of fruit, more people are shown. Brangwyn never hesitates to use great numbers of people, which seem to give him no trouble whatever in their modeling and characterization.
Following on to the right, "Fire," represented as the primitive fire and as industrial fire, in two pictures, continues the scheme. That group of squatting woodmen carefully nursing a little fire is almost comical, with their extended cheeks, and one can almost feel the effort of their lungs in the strained anatomy of their backs. There does not seem to be anything too difficult for Brangwyn. "Industrial Fire" is interesting from the decorative note of many pieces of pottery in the foreground. They seem to have come from the kiln which muscular men are attending.
"Water" is unusually graceful and delicate in its vertical arrangement of trees and the curve of the fountain stream, coming from the side of a hill. Women, children, and men have congregated, taking their turn in filling all sorts of vessels, some carried on their heads, some in their arms. Brangwyn's clever treatment of zoölogical and botanical detail is well shown in flowers in the foreground, such as foxglove and freesia, and the graceful forms of a pair of pinkish flamingoes. In the other panel of the same subject, a group of men on the shore are hauling in their nets.
The last of the four, "Air," represents this element in two totally different ways; the one on the left gives the more tender, gentle movement of this element, in the suggestion of the scent of the bowmen screened by trees, moving toward their prospective prey, while the other very bold composition is of a windmill turned away from the destructive power of an impending windstorm. In the foreground people are rushed along by gusts of wind, while children, unaware of the impending storm, are flying kites.
The masterful and varied treatment of these eight canvases show Brangwyn as the great painter he is known to be. We should rejoice to have such excellent examples of his brush permanently with us.
While not exactly belonging to the number of official decorations, Edward Trumbull's wall paintings in the unique Pennsylvania building are of great interest. Thoroughly dignified in their composition, they are most descriptive in their subject-matter. The "Pennsylvania Industries" are on the west side and "Penn's Treaty with the Indians" on the other. It is evident that Trumbull is a disciple of Brangwyn, though a personal note is not lacking in his work.
The tea-room of the California building harbors some mural decorations by Miss Florence Lundborg which the male part of the population can enjoy only by special invitation. I regret that they are not placed somewhere where the casual Exposition stroller can see them, because they are deserving of more attention than they are apt to receive. Miss Lundborg's artistic contributions have for many years been along the lines of decorations and in this big, well-composed figural scheme she discloses again a very fine, sympathetic understanding of the problems of a wall decoration. The color scheme is very refreshing and gives life to a large hall which has been endowed with unusual distinction by Miss Lundborg's art. A number of decorative floral medallions complete a scheme which is characterized throughout by dignity and sympathy.
The IlluminationConclusion
While a daytime investigation of the Exposition no doubt has its rewards, the full meaning of the Exposition reveals itself at night. Never before has an Exposition been illuminated in the unique fashion of the Panama-Pacific International Exposition.
Former exposition lighting consisted of a lavish display of lighting fixtures, and of unavoidable millions of glaring bulbs, the number of which nobody was permitted to forget. The offensive glare of the direct light had to be eliminated to preserve that feeling of tonality, of restfulness, so impressive in daytime. In other words, the sources of all lights at night have been concealed, or so concentrated that they could be far removed, so as not directly to offend the eye. The effect is very much like the flood of light of a full-moon summer night.
In speaking of the rich mellowness of the lighting effect, one feels again compelled to speak of the travertine stucco as the artistic foundation of not only the architecture, sculpture, painting, and landscape garden effects, but also of the illuminating effects designed by Mr. W. D'A. Ryan, and executed by Mr. Guy L. Bayley. Without the mellow walls and rich orange sculptural details, no such picture of tonal beauty could have been produced.
It is difficult to single out, among the many suggestive pictures, the most alluring one, but I may safely say that the first half hour after the close of day, as enjoyed around the lagoon, with the Fine Arts Building in the background, reflected in the waters, will linger forever in the minds of all who are privileged to see it.
Such blues I have seen only in pictures by Maxfield Parrish. Combined with the rich gold of the colonnade, they are almost supernatural. The whole effect, as reflected in the placid surface of the lagoon, occasionally broken here and there by a slowly moving waterfowl, or the protruding mouth of a carp, is inspiring, and must awaken an aesthetic response in the soul of the most ordinary mortal. Very quickly, however, does this colorful picture change, and the very intense blue of the early evening sky rapidly changes into a colorless black.
The Palace of Fine Arts, above all others, offers many wonderful bits of enchantment at night. It seems to have been thought out not only for its daytime effect but for the night as well.
Of the inner courts, those with larger and smaller bodies of water are most effective at night. The Court of the Four Seasons, with its placid, shrub-encircled pool, is doubly interesting at night. The four wall-fountains add much to the outdoor feeling that this court possesses, by reason of the suggestive murmur of the waters, descending in gentle splashes from bowl to bowl.
The most striking court, in its mysteriousness, is Mullgardt's Court of Abundance, particularly so on a foggy night. Large volumes of vapor are lazily rising from huge bowls and torches, below, and in the tower, suggesting the early days of the cosmic All, cooling off from the turbulent period of its creation. The fogs sweeping from the bay add more mystery, and with the gorgeous perfume of the hyacinth carpet in the garden spaces, the effect is almost narcotic. The whole court, under these conditions, seems heavy with the atmosphere of abundance, of physical well-being, of slumbering natural powers.
At the same time, it is truly religious in its effect of turning the mind away from the ordinary world into the realm of the mystic and the supernatural. I never realized what our San Francisco fogs could produce in artistic effects until I visited Mullgardt's court on a foggy night. The effect of the fog is absolutely ennobling.
So many things like these, possibly not originally thought of, have added, together with the illumination, rare charm to the Exposition. Great masses of pigeons, attracted by the light thrown upon the two great groups of the Nations of the West and of the East, give an unusually inspiring touch to the Exposition at night. The spectacle of these graceful birds encircling rhythmically the great sculptural piles, apparently enjoying the bath of light, will never be forgotten. These pigeons seem to have decided to live in the Exposition; they are there always, and apparently glad to play their part in the Exposition ensemble.
The lesson of the Exposition will be far reaching in its many demonstrations of the commercial value of artistic assets. The whole Exposition is really a city-planning exposition of the first order. Any city-builder, by the respectful use of the great fundamental principles of balance, harmony, and unity, cannot help but do on a large scale what the Exposition presents in a more condensed fashion. I admit that we have made tremendous strides in the remodeling of many of our large cities, particularly in the East, but we are still constantly starting new cities in the old planless way.
Our only practical and lasting effort in San Francisco along the lines of civic progress has been made in the civic center, where a far-reaching plan has been adopted and partly put into existence, and in some of our very charming newer restricted residence districts in the western end of the city, like St. Francis Wood, or in Northbrae and Claremont, in Berkeley, and elsewhere around the bay.
There is no doubt that we must better capitalize our own artistic assets, which we often allow to lie idle before we ever utilize them properly. The water front, Telegraph hill, the ocean shore, Sutro Heights, and Lincoln Park are all waiting to be developed in such a way as the Exposition suggests. The talk of cost is idle twaddle. If the Exposition, as an artistic investment, pays - and I see no reason whatever why it should not pay for itself - then we cannot do anything better than to invest our money wisely in other artistic improvements of a permanent character.
San Francisco is known all the world over for its unique location, rivaled only by that of Marseilles, and we have now the responsibility to use this natural asset, for which many envy us. The Exposition will start an avalanche of improvements along artistic lines which will be given increasing momentum by the development of long periods of prosperity.
The most urgent need, no, doubt, is the establishment of a municipal art gallery in the civic center, the only ideal place for it, where the workingman from the Mission and the merchant from west of Van Ness avenue will find it equally convenient of access. If a smaller number of citizens could raise the money for a municipal opera house, there should be no trouble in getting funds for a building devoted to a far more extensive public benefit, like an art gallery. People generally will want to know why it is that certain things can be given to them for one year, so successfully, and why it should not be possible to have them with us permanently. The inspiring lesson of beauty, expressed so simply and intelligently, will sink deep into the minds of the great masses, to be reborn in an endless stream of aesthetic expression in the spiritual and physical improvement of the people.
We, out here in the West, have been measuring the tide of human progress in biological terms. We have almost forgotten the days of our great calamity, and still speak of them in that typical expression of apprehension of the "earthquake babies." Let us think now of the future and its bright prospects, inaugurated so auspiciously for the benefit of our Exposition generation.
Appendix
Guide to Sculpture
South Gardens:
Fountain of Energy (center) - A. Stirling Caller Directly opposite the main entrance, the most conspicuously placed fountain in the grounds. The four major figures in the bowl represent the Pacific, the Atlantic, and the two Arctic oceans. The minor eight figures suggest the marine character of the fountain. The reclining figures on the sphere typify the two hemispheres. The youth on horseback represents energy and strength.
The Mermaid (fountains in long pools) - Arthur Putnam The same figure is used twice, near the Horticultural Palace on the west and Festival Hall on the east.
Equestrian Statue, "Cortez" - Charles Niehaus Guarding the Tower of Jewels. This statue represents the great Spanish conqueror. As one faces the tower, this figure is on the left.
Equestrian Statue of "Pizarro" - Charles Cary Rumsey Similar in type and feeling to the preceding statue on the right, in front of the Tower of Jewels.
Horticultural Building:
Frieze at Base of the Spires - Eugene Louis Boutier Loose arrangement of standing female figures surrounding the bases of the spires on all sides of the Horticultural Palace, with no other meaning than that of decoration.
Pairs of Caryatides - John BatemanArchitectural vertical members supporting the pergola around theHorticultural Palace. Used also on the Young Women's ChristianAssociation and the Press buildings, near the main entrance.
Tower of Jewels:
Statues of "Priest," "Soldier," "Philosopher," and "Adventurer" - John Flanagan Four figures suggestive of the forces which influenced the destinies of our country. Very big in scale - about twice life size. They are standing on a row of columns below the cornice on the tower and are repeated on all four sides.
The Armored Horseman (Terrace of the Tower) - F. M. L. Tonetti A decorative equestrian statue on the lower terrace of the tower above the preceding figures - repeated sixteen times.
Tower Colonnades:
Fountain of Youth (east end) - Edith Woodman Burroughs Snugly placed inside the abutting walls, east of the Tower of Jewels. Naive in character and simple in treatment, without any further symbolical meaning than that suggested by the name. Motif in side panels, "Ship of Life."
Fountain of El Dorado (west end) - Mrs. Harry Payne Whitney In position similar to the preceding, west of the Tower of Jewels. A triptych of dramatic expression, naturalistically treated.
Festival Hall:
Figure crowning the minor Domes - Sherry E. FryA standing finial figure, on the minor domes, of graceful pose.
Two groups in front of the Pylons - Sherry E. Fry Practically conceived as wall fountains, they are composed of the figure of a girl, suggesting the joy of life, emphasized by young Pan, with a lizard, at the base on the left, and a seated young girl on the right.
Cartouche over the entrance (figures only) - Sherry E. Fry An architectural unit over the big arch of the main central dome, outside the building, for decorative effect.
Reclining figures on Pylons - Sherry E. Fry A male and a female figure, reclining, crowning the architectural units projecting into the South Gardens. Suggestive of life and pleasure.
Court of Palms:
Equestrian statue, "The End of the Trail" - James Earl FraserAt the entrance of the Court of Palms, off the main avenue opposite theHorticultural Palace. Symbolical figure, representing the destinies ofthe vanishing red race; to be considered in connection with the"Pioneer" at the entrance of the Court of Flowers.
The Fairy (Italian Towers - Palms and Flowers) - Carl GruppA figural termination of the four towers guarding the entrances to theCourts of Palms and of Flowers.
Caryatides - John Bateman and Mr. CalderWinged half-figure in the attic-space, repeated all around the court.
Spandrels - Albert Weinert Reclining decorative figures composed into the triangular spaces over all the doorways in the corridor.
Court of Flowers:
Equestrian statue, "The Pioneer" - Solon Borglum At the entrance of this court. Representing the white man and his victorious civilization. (To be studied with "The End of the Trail.")
Lions (at the entrances) - Albert Laessle Very conventional architectural decorative animal forms at the entrance inside the Court of Flowers - used six times.
The Fairy (above the Italian Towers) - Carl Gruppe[See Fairy under Court of Palms by the same artist.]
Central Fountain, "Beauty and the Beast" - Edgar Walter Decorative fountain inside the court, with crowning figure of a young woman, reposing on a fabulous beast.
Flower Girls (in niches) - A. Stirling Calder Repeated figures, conventionally treated, of young women, decorated profusely with flower garlands, in the attic space.
Court of Abundance:
Groups on the altar in the main tower - Chester Beach These groups constitute the historical composition in the tower on the north side of the court. Beginning with the lower one, they represent the primitive ages, the middle ages, and modern times.
Group at column bases and finials - Leo Lentelli Decorative figures. Used four times at the base of the shaft near the tower. A single finial figure of a girl with a bow is used on top of the same column.
Fountain of the Earth (central pool) - Robert I. Aitken An architectural composition telling the story of human life in its many phases. The outstretched arms on the south side represent destiny giving and taking life.
Figures on top of the Arcade - Albert Weinert Primitive men, with the pelican and deer; the mother with a child is repeated all around the court.
Aquatic Life (north extension) - Sherry B. Fry A figure which might represent Neptune's daughter. This figure stands north of the tower in the open space toward the Marina below, between the Palaces of Transportation and Mines.
Court of the Universe:
The Nations of the East; The Nations of the West - A. Stirling Calder,Leo Lentelli, and Frederick C. R. Roth, collaborators.Colossal groups on top of the two great arches, representing, in manytypes, Western and Eastern civilization.
Statues on columns (eastern and western arches) - Leo Lentelli Winged statues standing on top of columns on the inside as well as the outside of the two great arches.
Spandrels, Pegasus - Frederick G. R. RothTriangular compositions spanning the arches, repeated on both sides.
Medallion - B. Bufano Circular decorations of male figures on the left side of the arch without any meaning other than architectural effect.
Medallion - A. Stirling CalderSame as above, of female figures, on the right side of the arches.
The Stars (colonnades) - A. Stirling Calder Very conventional standing figure, with hands united above the head, forming a star with radiated head-dress, placed on the balustrades of buildings adjoining the court and in the avenue leading north from the court.
Frieze on corner pavilions, "Signs of the Zodiac" - Hermon A. MacNeil Decorative friezes on four sides of the four corner pavilions, of mythological character.
Two fountains, "The Rising Sun" and "The Setting Sun" - Adolph A. Weinman Two columns rising from fountain bowls and crowned by winged figures, of a woman, representing the Setting Sun, on the left, and of a winged male figure, the Rising Sun, on the right.
Four reclining figures, "The Elements" - Robert I. Aitken At the head of the stairs leading into the sunken garden; on the left, near the Music Pavilion, "Fire;" on the right, "Water;" on the left, near the tower, "Air;" on the right, "Earth."
Two Groups - Paul Manship Near the arches at the head of the steps, two figural groups. One is of female figures, suggesting pleasure; the other, music and art.
Western Plaza, in Front of Machinery Palace:
Monument, "Genius of Creation" - Daniel Chester French Group of allegorical figures, suggestive of the development of the human race.
Court of the Four Seasons:
Four groups representing "The Seasons" - Furio Piccirilli In niches. Southeast corner, "Winter;" northeast corner, "Fall;" southwest corner, "Spring;" northwest corner, "Summer."
The Harvest (above the half dome) - Albert JaegersSeated figure with a horn of plenty and other agricultural emblems.
Rain and Sunshine (figures on columns) - Albert JaegersStanding female figures on columns on either side of the half dome.Sunshine, holding a palm branch, is on the left, and Rain, holding up ashell, on the right.
Groups, "Feast of Sacrifice," on the pylons in the forecourt - AlbertJaegersThe two groups on top of the building, in which huge bulls predominate,led by a young woman and a young man; very decorative.
Fountain, "Ceres" - Evelyn Beatrice Longman Situated halfway between the Court of the Four Seasons and the Marina, in an avenue leading north; architectural in character.
Spandrels (arcade) - August Jaegers Reclining female figures above the arches at the west and east entrance of the Court of the Four Seasons.
Attic figures - August Jaegers Standing decorative figures of architectonic feeling, in the attic above the preceding figures.
Varied Industries Palace:
Tympanum group in the doorway - Ralph Stackpole Groups of men and women in the lunette of the ornate doorway on the south side.
Secondary group, doorway - Ralph StackpoleGroups above the preceding one, showing Age transferring his burden toYouth.
Figure for niches, doorway (man with the pick) - Ralph Stackpole A repeated figure of a miner, of relatively small scale, on the consoles in the doorway.
Figure for keystone in doorway - Ralph StackpoleA small seated figure of a laborer, on the headstone.
Figure for niches, on the east façade of this Palace and of the Palace of Mines - Albert Weinert Standing figure in niches above doors, also used in avenue leading into the Court of Abundance from the east.
West Wall of the Palaces (facing Fine Arts):
Motifs for wall niches ("Triumph of the Field" and "Abundance") - Charles R. Harley Seated male and female figures surrounded by a great wealth of emblematic forms. The male represents "Triumph of the Field;" the female, "Abundance."
Figures on columns (flanking the half domes): Philosophy and PhysicalVigor - Ralph StackpoleA colossal figure of a youth, on top of free-standing columns on thewest wall of the main buildings.
Palace of Fine Arts:
Standing figure, inside of the rotunda on top of columns - Herbert Adams
Figures in the attic of the rotunda - Ulric H. Ellerhusen Standing females and males between architectural friezes immediately below the cupola of the dome.
Frieze on the altar - Bruno Louis Zimm Figural frieze at the base of the rotunda facing the Laguna can only be seen from a great distance across the water.
Relief panels for the rotunda - Bruno Louis Zimm Eight panels on the outside, of strictly architectural character, representing a procession, showing the development and influence of art.
Friezes around the base on the ground - Ulric H. EllerhusenFigures with garlands, used everywhere at the base of the building.
Figures on the flower boxes - Ulric H. EllerhusenStanding figures, looking inward, representing introspection.
Kneeling figure on the altar - Ralph Stackpole The shrine of worship. That delicate small figure seen best from across the laguna in front of the rotunda.
North Façade, Main Group of Exhibit Palaces:
Figure for central niches, "Conquistador" - Allen NewmanA Spanish soldier, with helmet and sword and a large mantle.
Figure for side niches, "The Pirate" - Allen Newman A coarsely shaped man, in small niches on the north side of the main buildings near the preceding one.
Column of Progress:
Bas-relief (four sides of the pedestal) - Isidore KontiFour allegorical friezes depicting man's striving for achievement.
Finial group, "The Adventurous Bowman," frieze and decoration - HermonA. MacNeilThe group on top of the column suggests man's supreme effort in life,the supporting frieze is "The Toilers."
Palace of Machinery:
Figures on columns (four "Powers") - Haig Patigian Repeated large scale figures of men, representing the industries exhibited within the building.
Friezes for columns, vestibule - Haig PatigianDecorative architectural figure compositions of similar subjects.
Spandrels (two pairs) - Haig Patigian Reclining figures filling out the triangular spaces above the doors in the vestibule reflecting the purpose of the building.
Palace of Education:
Repeated figure within the Half Dome, of Thought - Albert Weinert Standing figure of a maiden with a scroll inside the portal, repeated eight times.
Palace of Food Products:
Repeated figure within the Half Dome, "Physical Vigor" - Earl Cummings Similar to that above, inside the Portal of Vigor, showing a standing young man, with an oak wreath.
Friezes and figures in niches, main south entrance (portals of the Manufacturers and Liberal Arts Palaces) - Mahonri Young Figures representing domestic life and industries like foundry work, smithing, spinning, and sculpture. Figures in the niches: woman with spindles and men with hammers.
Tympanum panels (north and south entrances of the Palace of Education) -Gustave GerlachDecorative panels above the doors outside of the building showingmaternal instruction.
Panels inlaid in the walls over the minor entrancesPupils of the School of Sculpture of the Society of Beaux ArtsArchitects and National Sculpture Society.Decorative panels of school life and of science.
Figure, "Victory," on the gables of the palaces - Louis UlrichA winged figure used on top of all the palaces.
Mural Decorations
Court of Abundance:
Earth - Frank Brangwyn Northwest corner of the corridor, two panels: grape-crushers on the left and fruit-pickers on the right.
Fire - Frank Brangwyn Two panels in the northeast corner of the corridor. Primitive Fire on the left and Industrial Fire on the right.
Water - Frank Brangwyn Two panels in the southeast corner of the corridor. Fountain motive on the left and fishermen hauling nets on the right.
Air - Frank Brangwyn Two panels in the southwest corner of the corridor. In the left panel, the scent of hunters carried toward their prospective prey. A windmill on the right.
Court of the Four Seasons:
Spring - H. Milton Bancroft Two murals above the doorway in the colonnade (southwest corner). To the left, Spring; to the right, Seedtime.
Summer - H. Milton BancroftTwo murals similar to those in the northwest corner of the court.Fruition on the right; Summer on the left.
Autumn - H. Milton BancroftIn the northeast corner of the court, two panels: Autumn on the right;Harvest on the left.
Winter - H. Milton BancroftSimilar in location to the preceding, in southeast corner. Two murals,Festivity on the right; Winter on the left.
Man Receiving Instruction in Nature's Laws - H. Milton BancroftOne upright panel, in the half dome on the right.
Art Crowned by Time - H. Milton BancroftOn the left opposite the preceding.
Eastern Arch, Court of the Universe:
Hope and Attendants: (On the north wall) - Edward Simmons
Historical types: (On the south wall) - Edward Simmons Representing Greece, Italy, Spain, England and France, on the south wall.
Tower of Jewels:
The Atlantic and Pacific (in the center);The Discovery (on the left;)The Purchase (on the right) - William de Leftwich DodgeGateway of All Nations (in the center);Labor Crowned (on the left);Achievement (on the right) - William de Leftwich DodgeSix panels inspired by the construction of the Panama Canal. The firstgroup is on the west wall, the second on the east.
Western Arch, Court of the Universe:
The Westward March of Civilization, in two panels by - Frank V. DuMondBeginning in the north panel and continued in the opposite one.
Court of Palms:
Fruits and Flowers - Childe HassamPainting in a lunette over the entrance into the Palace of Education.
The Pursuit of Pleasure - Charles Holloway A painting of the same shape as the preceding, over the entrance into the Palace of Liberal Arts.
The Victorious Spirit - Arthur MathewsIn the lunette over the doorway into the Court of the Four Seasons.
Rotunda, Palace of the Fine Arts:
The Four Golds of California (Golden Metal, Wheat, Citrus Fruits, andPoppies) - Robert ReidIn the ceiling inside the rotunda.
Art, born of flame, expresses its ideals to the world through music, poetry, architecture, painting, and sculpture - Robert Reid In the same location.
Birth of European Art. Birth of Oriental Art - Robert ReidBelonging to the preceding group of eight pictures by the same artist.
Pennsylvania Building:
Decorative Paintings - Edward TrumbullIn the east and west walls of the center court of the building, showingPenn's Treaty with the Indians on the right and Pennsylvania Industrieson the left.
Biographical Notes
Adams, Herbert(Sculptor) New York. Born in West Concord, Vermont 1858. Studied inParis. Figures on columns inside of Rotunda, Palace of Fine Arts.
Aitken, Robert I.(Sculptor) New York. Born in San Francisco, California, 1878. Studied inMark Hopkins Institute, San Francisco, and Paris. The Four Elements, inCourt of the Universe, and Fountain of Earth in Court of Abundance.
Bacon, Henry(Architect) New York. Born in Watseka Illinois, 1866. Studied at theUniversity of Illinois and in Europe. Court of the Four Seasons.
Bakewell and Brown(Architects). John Bakewell, Jr. San Francisco. Born in Topeka, Kansas1872. Studied at the Beaux Arts Paris. Arthur Brown, Jr. San Francisco.Born in Oakland, California, 1874. Studied in the University ofCalifornia and at the Beaux Arts in Paris. Horticultural Palace.
Bateman, John(Sculptor) New York. Born in Cedarville New Jersey 1877. Studied in theSchool of Industrial Art. Philadelphia and in Paris. Caryatides outsideof Horticultural Building.
Bayley, Guy L.(Electrical Engineer) San Francisco. Born in Vacaville, California,1875. Studied at University of California. Chief of Electric andMechanical Department.
Beach, Chester(Sculptor) New York. Born in San Francisco, California, 1881. Studied inParis, New York and Rome. Groups on tower on Court of Abundance.
Bennett, Edward(Architect) Chicago. Preliminary Plans of Exposition.
Bitter, Karl(Sculptor). Born in Vienna, Austria, 1867. Died April 10, 1915, NewYork. Studied at Vienna Academy of Fine Arts. Chief of Sculpture.
Bliss and Faville(Architects) Walter D. Bliss, San Francisco. Born in Nevada, 1868.Studied in the Massachusetts Institute of Technology and abroad. WilliamB. Faville, San Francisco. Born 1866. Studied in the MassachusettsInstitute of Technology. Main Buildings forming center unit of eightPalaces.
Boberg, Ferdinand(Architect) Stockholm. Born in Falun, Sweden, 1860. Swedish Building.
Borglum, Solon H. (Sculptor) New York. Born in Ogden, Utah, 1868. Studied in Art Academy of Cincinnati, and in Paris. The Pioneer.
Bourgeois, Jean Louis(Architect) Born in Autun, France, 1876. Died February 26, 1915, inFrance. Collaborated with Bakewell and Brown in Horticultural Buildingdesign.
Boutier, Eugene Louis(Sculptor) Frieze at Base of Spires on Horticultural Building.
Brangwyn, Frank(Painter) London. Born in Bruges, Belgium, 1867. Mural paintings of theFour Elements in the Court of Abundance.
Bufano, B.(Sculptor) New York. Medallions on the arches in Court of the Universe.
Burditt, Thomas H.(Architect) San Francisco. Born in Nellore, India, 1886. CaliforniaState Building.
Burroughs, Mrs. Edith Woodman(Sculptor) Flushing, Long Island. Born in Riverdale-on-Hudson 1871.Studied in Art Students League of few York and in Paris. Fountain ofYouth.
Calder, A. Stirling(Sculptor) New York. Born in Philadelphia 1870. Studied in PennsylvaniaAcademy of Fine Arts and in Paris. Acting Chief of Sculpture. Fountainof Energy; The Star in Court of the Universe; Flower Girl in Court ofFlowers; Nations of the East; Nations of the West, in collaboration withF. Roth and Leo Lentelli.
Carrere and Hastings(Architects) John M. Carrere, deceased. Thomas Hastings, New York. BornNew York, 1860. Studied in Beaux Arts, Paris. Tower of Jewels.
Cummings, M. Earl(Sculptor) San Francisco. Born in Salt Lake City, Utah, 1876. Studied inSan Francisco and Paris. Repeated figure in Portal of Vigor. Palace ofFood Products.
Denneville, Paul E.(Architectural Sculptor) New York. Born in Ancy France, 1873. StudiedCooper Institute New York, and abroad. Travertine finish of buildings.
Dodge, William De Leftwich(Mural Painter) New York. Born in Liberty, Virginia, 1867. Studied inMunich and Paris. Two Murals in Tower of Jewels.
Dumond, Frank V.(Painter) New York. Born in Rochester New York, 1865. Studied in Paris.Two Murals in arch of Setting Sun.
Ellerhusen, Ulric H. (Sculptor) New York. Figures in attic of Rotunda and repeated frieze at base of Fine Arts Building.
Farquhar, Robert David (Architect) Los Angeles. Born in Brookline. Massachusetts, 1872. Studied at Harvard and at Beaux Arts, Paris. Festival Hall.
Flanagan, John(Sculptor) New York. Born in Newark, New Jersey, 1865. Studied inBoston, New York and Paris. Figures on Tower of Jewels.
Fraser, James Earl(Sculptor) New York. Born in Winona. Minnesota, 1876. Studied in Paris.The End of the Trail.
French, Daniel Chester(Sculptor) New York. Born in Exeter, New Hampshire, 1850. Studied inBoston, New York and Florence. Genius of Creation.
Fry, Sherry E.(Sculptor) New York. Born in Creston, Iowa 1879. Studied in ArtInstitute, Chicago, and in Paris. Figural decorations on Festival Hall.
Garnett, Porter (Writer) Berkeley. Born in San Francisco, California, 1871. Selection of inscriptions on monuments and arches.
Gerlach. Gustave (Sculptor) Weehawken, New Jersey. Tympanum panels north and south entrances Palace of Education.
Gruppe, Carl(Sculptor) New York. Fairy figure on Italian towers.
Guerin, Jules (Painter) New York. Born in St. Louis Missouri, 1866. Studied in America and abroad. Director of color and decoration. Color scheme.
Harley, Charles R.(Sculptor) New York. Born in Philadelphia, Pennsylvania, 1864. Studiedin Pennsylvania Academy of Fine Arts and in Paris. "The Triumph of theField" and "Abundance," on west facade of main buildings.
Hassam, Childe(Painter) New York. Born in Boston, Massachusetts, 1859. Studied inParis. Lunette, Fruits and Flowers, in Court of Palms.
Holloway, Charles(Painter). Lunette, The Pursuit of Pleasure, in Court of Palms.
Hornbostel, Henry(Architect) New York. Born in Brooklyn New York, 1867. Studied in NewYork and Paris. Pennsylvania State Building.
Howard, John Galen(Architect) Berkeley. Born in Chelmsford Massachusetts, 1864. Studied inBoston and Beaux Arts, Paris. Exposition Auditorium in the Civic Centerin collaboration with Frederick Meyer and John Reid, Jr.
Jaegers, Albert(Sculptor) New York. Born in Elberfeld, Germany, 1867. Studied abroad.Figures of Harvest Rain and Sunshine, and Bulls in Court of FourSeasons.
Jaegers, August(Sculptor) New York. Born in Barmen, Germany, 1878. Studied in Paris.Spandrels and attic figures in Court of Four Seasons.
Kelham, George W.(Architect) San Francisco. Born in Manchester, Massachusetts, 1871.Studied at Harvard. Director of Architecture. Courts of Palms andFlowers.
Konti, Isidore(Sculptor) New York. Born in Vienna, Austria, 1862. Studied in ImperialAcademy, Vienna. Frieze at base of Column of Progress.
Laessle, Albert(Sculptor) Philadelphia. Born in Philadelphia Pennsylvania, 1877.Studied in Philadelphia. Lions in Court of Flowers.
Lentelli, Leo(Sculptor) New York. Born in Bologna, Italy, 1879. Figures on decorativeshafts in Court of Abundance; Nations of the East and Nations of theWest in collaboration with Stirling Calder and Frederick Roth.
Longman, Miss Evelyn Beatrice (Sculptor) New York. Born in Winchester, Ohio, 1874. Studied in Chicago and New York. Fountain of Ceres.
Lundborg, Florence (Painter) San Francisco. Born in San Francisco. Studied in San Francisco and in Paris. Mural decorations in Tea Room of the California Building.
McKim, Mead and White(Architects) New York. Living members of the firm: William R. Mead. Bornin Battleboro, Vermont 1846. Studied at Amherst and in Europe. W. SymmesRichardson. W. Mitchell Kendall. Court of the Universe.
McLaren, John (Landscape Engineer) San Francisco. Born in Scotland. Horticultural effects.
MacNeil, Hermon A.(Sculptor) New York. Born in Everett, Massachusetts, 1866. Studied inBoston and Paris. Adventurous Bowman and frieze of Toilers on Column ofProgress.
Manship, Paul(Sculptor) New York. Groups in Court of Universe.
Markwart, Arthur(Engineer) San Francisco. Born in Illinois, 1880. Studied at Universityof California. Assistant Chief of Construction. Structural design ofMachinery Palace.
Mathews, Arthur F.(Painter) San Francisco. Born in Wisconsin, 1860. Studied in Paris.Lunette, the Victorious Spirit, in Court of Palms.