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Palaces and Courts of the Exposition

A Handbook of the Architecture Sculpture and Mural Paintings with
Special Reference to the Symbolism

By
Juliet James

"The trail is lost, the path is hid and winds
that blow from out the ages sweep me on to
that chill borderland where time's spent
sands engulf lost peoples and lost trails."

Marian Manville Pope

A Foreword

The Pastel City by the Sea

There is a hill-crowned city by a silver sea, near a Golden Gate. For
ages the water has washed from an almost land-locked bay against this
hill-crowned city, and on its northern side has created of the shore an
amphitheatre stretching for some three miles to the western headlands.

Behind this amphitheatre rises, in terraces, the steep hills of this
water-lashed city, and in part, a forest of pines stretches to the west.
Man has flanked this reach of shore by two lowering forts, and in front,
across the sapphire sea, one looks onto the long undulations of hills,
climaxed by grand old Tamalpais.

Just three years ago and one saw in this same low-lying shore only a
marshy stretch, with lagoons working their way far into the land - the
home of the seagull.

There came a time when, had you looked closely, you would have seen
coming thru the Golden Gate a phantom flotilla of caravels, freighted
with clever ideas.

On the vessels came; at the prows were several noble figures: Energy,
Enterprise, Youth, the Spirit of the East, the Spirit of the West,
Success, and in the last caravel, the stalwart Mother of Tomorrow.

They had dug and delved with mighty Hercules and had created that great
gap that has severed two continents. Then, leaving their work to be
finished, they had sailed on to celebrate their triumph in the Land of
El Dorado, the region of their desires.

In a shallop in front of these floating winged vessels, riding on the
waves, came Venus, rowed by the fairies - in her hand the golden ball of
opportunity.

The mermaids, the dolphins, the little sea-horses sported in the wake of
these vessels, leaving a long line of foam and silver as they sped on.

Over the waves they came to the Golden Land of the Pacific. They moored
their vessels by the fort-flanked shores, and stepping out upon the
haunt of the seagull, they moved boldly across this unsightly stretch of
wave-washed land.

Enterprise and Energy pushed ahead: the Fairy ever flitting near. At a
signal from Enterprise the Fairy turned her wheel, Venus threw her
golden ball of opportunity, and lo! out of the foam of the sea rose a
Venus city with the round sea bubbles resting on the roofs.

One day a man appeared on the hilltop o'erlooking this wondrous city and
by his magic power, being filled with music, with color-music, he cast a
spell and behold a pastel city by the sea - such an one as only those
who dream could think of; a city glowing with warmth of color, with a
softness and mystical charm such as only the brain of Jules Guerin could
produce.

He is the conductor of this wondrous symphony, this beautiful Mozart
fantasia, and if you listen, you can hear the strains of the great
beautiful melodies wafted now east, now west, now north, now south,
rising to great climaxes, falling back to great chords of harmony, or,
in an allegro movement, causing you almost to trip with delight in the
joy of it all.

Your eye is enthralled with the beauty of the coloring. One sees
turquoise green domes floating in a silver-moated ether, long colonnades
of glacial ice columns leading to regions beyond, where quiet silver
pools throw back the mirrored glories.

Battalions of daffodils holding their long sabers stand in the South
Garden, making ready for the great festival. Soon those daffodils will
raise their golden trumpets and will sound the fanfare at the opening of
the Great Jubilee, and up will spring two hundred thousand wide-eyed
yellow pansies to look and wonder at the marvelous beauty and help in
the hallelujah chorus that will be one great poeon of joy - one splendid
hymn of praise.

And the blue eucalypti against the walls will lend their voices, the
yellow acacias will add their cadences; while down by the great lagoon,
ten thousand periwinkles will dance for joy.

Far out on the waters will be intoned to the rhythm of the waves a
chorus from white-robed water-lilies, who, like a throng of choristers,
will send their anthems rippling over the sun-kissed waves.

The Spirit of the East that has added its domes, its minarets, its
soft-glowing colors, will remain and join hands with the Spirit of the
West, that strong, pulsating energetic spirit, and the harmony produced
will vibrate from the shores of the Occident to the shores of the Orient
and bring about a better understanding, a great world peace.

And the world will come to listen. The great music will sound across the
waters, and the world will be the better in its way of thinking, of
working, of living - and all because of the great beauty. Wonderful is
it to be living today, to have the opportunity of watching the beginning
of this mighty growth; to be present at one of the world's greatest
events.

And the pastel city by the sea will not leave us, for, as the years go
on, whatever be our mission, the vision of this dream-city will float
before us, leading us to finer, higher works, strengthening our ideals,
and causing us to give only of our finest fiber.

Table of Contents

Foreword - The Pastel City by the Sea
Ground Plan of Palaces and Courts
Prayers at Opening of Exposition
Chiefs of Departments
Architecture and Architects
Sculptors and Mural Painters
Materials of the Palaces
Material of the Statues
Machinery Palace
Palace of Varied Industries
Flora of the Avenue of Progress and the Avenue of Palms
Palace of Manufactures and Palace of Liberal Arts
Palace of Education
Aisles between the Palaces
Court of the Universe
Cosmical Side of the Court of the Universe
Human Side of the Court of the Universe
Historical Side of the Court of the Universe
Ethical Side of the Court of the Universe
Floral Side of the Court of the Universe
Festival Side of the Court of the Universe
Tower of Jewels
Jewels on the Tower
Column of Progress
Court of the Ages
North Court of the Ages
Court of the Four Seasons
Court of Palms
Court of Flowers
Italian Towers
Palace of Fine Arts
Palace of Horticulture
South Gardens
Festival Hall
Color Scheme
Index

List of Illustrations

"The End of the Trail" (by James E. Fraser)
Machinery Palace
Palace of Varied Industries
Portal of the Palace of Varied Industries
Portal of the Palace of Liberal Arts
West Side of the Palace of Education
"Thought" (by Ralph Stackpole)
Portal of all the Palaces facing North
Court of the Universe
"The Rising Sun" (by A. A. Weinmann)
"Descending Night" (by A. A. Weinmann)
"Earth" (by Robert Aitken)
"The Genius of Creation" (by Daniel C. French)
"The Nations of the Occident" (by Calder, Roth and Lentelli)
"Youth" (by Edith W. Burroughs)
Part of "Fountain of El Dorado" (by G. V. Whitney)
Tower of Jewels
"Cortez" (by Chas. Niehaus)
North Court of Court of the Universe
"The Adventurous Bowman" (by H. A. McNeil)
Court of the Ages
"Water" (by Frank Brangwyn)
Panel of "The Fountain of the Earth" (by R. Aitken)
Court of the Four Seasons
"The Fountain of Ceres" (by Evelyn B. Longman)
"The Feast of the Sacrifice" (by Albert Jaegers)
The Emerald Pool
"Winter" (by Furio Piccirilli)
Eastern Gateway of Court of Four Seasons
Court of Palms
"The American Pioneer" (by Solon Borglum)
Palace of Fine Arts
Corner of the Palace of Fine Arts
Panel of "Pegasus " (by Bruno Zimm)
Palace of Horticulture
"The Fountain of Energy" (by A. Stirling Calder)
Festival Hall

Palaces and Courts of the Exposition

The Prayer of Bishop Nichols

of the
Episcopal Diocese of California,

Given at the
Opening of the Exposition

The Blessing of God Almighty, the God of the Ages, the God of the
Oceans, the God of the Continents, the God of the Genius of man and the
God of every Exposition of human achievement and progress - the Blessing
of God Almighty, the Father, the Son and the Holy Ghost, be upon you and
remain with you always.

Amen.

The 148th Psalm

Read by
Rabbi Meyer of San Francisco
at the Opening of the Exposition

Praise ye the Lord. Praise ye the Lord from the heavens; praise Him in
the Heights.
Praise ye Him, all His Angels; praise ye, all His hosts.
Praise ye Him, sun and moon; praise Him all ye stars of light.
Praise Him, ye heaven of heavens, and ye waters that be above the
heavens.
Let them praise the name of the Lord; for He commanded and they were
created.
He hath also established them for ever and ever; He hath made a decree
which shall not pass.
Praise the Lord from the earth, ye dragons, and all deeps.
Fire and hail, snow and vapors; stormy wind fulfilling His word;
Mountains and all hills; fruitful trees, and all cedars;
Beasts and all cattle; creeping things and flying fowl;
Kings of the earth and all people; princes, and all judges of the earth.
Both young men, and maidens; old men, and children.
Let them praise the name of the Lord; for His name alone is excellent;
His glory is above the earth and heaven.
He also exalteth the horn of His people, the praise of all His saints;
even of the children of Israel, a people near unto Him. Praise ye
the Lord.

The Prayer of Bishop E. J. Hanna

of the Catholic Diocese

Given at
the Opening of the Exposition

O God of our Fathers, in Whose power are the destinies of men, in Whose
hands are the ends of the world, look down with loving-kindness on Thy
children here gathered in Thy Name. From the uttermost bounds of the
earth have we come to commemorate one of man's greatest achievements
adown the ages. Make us, Thy children, realize that Thou art the source
of light and of inspiration; make us realize that great things are
wrought through Thee alone.

To the city of St. Francis, enthroned in beauty by the western sea, give
the grace of kindly hospitality, the blessing of an ever-widening vision
of true greatness, a faith and a hope that know not failure. To our
glorious California give abundance of harvest, a bounteous plenty of Thy
treasures and a valiant race of men blessed in the knowledge and
sanctified in the observance of Thy law. To our favored land, which is
from sea to sea, vouchsafe strength and unity and that peace which the
world cannot give. Make us feel that the mighty City of God rises
sublime through the centuries only when built on the foundations of
justice and of truth; and, finally, to all the nations here represented,
grant a vision of the highest things of life - of the things that make
for true progress, for real brotherhood, for lasting union, for
unfailing love, for mighty achievement in time, and for that glory which
is everlasting.

Amen.

The Chief's of Departments

Architects - Mr. George Kelham of San Francisco.
Sculptors - Mr. Karl Bitter of New York and his able manager, Mr. A.
Stirling Calder of New York.
Painters - Mr. Jules Guerin of New York.
Illuminators - Mr. W. D'Arcy Ryan of San Francisco and Mr. Guy Bailey of
Berkeley, Cal.
Landscape Gardening - Mr. John McLaren of San Francisco and his son,
Donald McLaren.
Inscriptions - Selected by Mr. Porter Garnett of Berkeley, Cal.
Material for Buildings was originated by Mr. Paul E. Deneville of New
York.

Architecture and Architects

Manager-in-Chief - Geo. Kelham of San Francisco.
Court of the Universe - McKim, Meade and White of New York.
Tower of Jewels - Thomas Hastings of New York.
Court of the Ages - Louis Christian Mullgardt of San Francisco.
Court of the Four Seasons - Henry Bacon of New York.
Court of Flowers - Geo. Kelham of San Francisco.
Court of Palms - " "
The Italian Towers - " "
Column of Progress - Symmes Richardson of New York.
Machinery Palace - Ward and Blohme of San Francisco.
Palace of Varied Industries - W. B. Faville of San Francisco.
Palace of Mines - " "
Palace of Manufactures - " "
Palace of Transportation - " "
Palace of Liberal Arts - " "
Palace of Education - " "
Palace of Agriculture - " "
Palace of Food Products - " "
Also all portals and aisles - " "
Palace of Fine Arts - Bernard R. Maybeck of San Francisco.
Palace of Horticulture - Bakewell and Brown of San Francisco.
Festival Hall - Robert Farquhar of Los Angeles.

Sculptors

(The numbers indicate the other works by the same sculptors to be seen
in the Fine Arts Palace.)

Adams, Herbert (3)
Aitken, Robert (9)
Bateman, John
Beach, Chester (1)
Borglum, Solon H. (1)
Boutier, E. L.
Bufano, B.
Burroughs, Edith Woodman (4)
Calder, A. Stirling (5)
Cummings, Earle
Ellerhusen, Ulric H. (2)
Elwell, Frank Edwin
Flanagan, John (3)
Fraser, James Earle (7)
French, Daniel Chester (4)
Fry, Sherry (2)
Gerlach, Gustave
Gruppe, Carl
Harley, C. R.
Humphries, C. H. (1)
Jaegers, Albert (1)
Jaegers, August
Konti, Isadore (6)
Laessle, Albert (21)
Lentelli, Leo
Longman, Evelyn Beatrice (4)
MacNeil, Herman A. (2)
Manship, Paul (10)
Newman, Allen
Niehaus, Charles
Patigian, Haig (7)
Peters, C.
Piccirilli, Furio (2)
Putnam, Arthur
Roth, Frederick G. R. (12)
Rumsey, Charles Carey (8)
Stackpole, Ralph W. (4)
Stea, Cesare
Tonetti, F. M. L.
Walters, Edgar (1)
Weinert, Albert
Weinman, Adolph A. (9)
Whitney, Gertrude Vanderbilt (1)
Young, Mahonri (9)
Zimm, Bruno L.

MURAL PAINTERS

(The numbers indicate the other works by the same artists to be seen in
the Fine Arts Palace.)

Bancroft, Milton
Brangwyn, Frank
Dodge, William de Leftwich
Du Mond, Frank Vincent (6)
Hassam, Childe (37)
Holloway, Charles
Matthews, Arthur F. (14)
Reid, Robert (3)
Simmons, Edward

Materials of the Palaces

The buildings, as well as all of the statuary, are made of artificial
travertine, of a smoked-ivory tone.

Real travertine is found in and around Rome, especially at Tivoli.

It is a pure carbonate of lime, a creamy white deposit formed from
dripping water, in stratified form, with cavities and fissures lined
with crystals.

The Colosseum and St. Peter's at Rome are both made of this material.

The imitation travertine made with concrete, and used in the second
story of the Pennsylvania Station in New York in combination with real
travertine of the first story, was invented by Mr. Symmes Richardson of
the firm of McKim, Meade and White of New York. He also brought the real
travertine to America to have it used for the first time in a large
building, the Pennsylvania Station.

Mr. Paul Deneville of New York has most successfully made a plastic
travertine, composed of gypsum from Nevada combined with hemp fiber and
a coloring pigment, which has been applied to all of the Exposition
buildings, producing a most pleasing glareless background under the
sunny skies of San Francisco.

The roofs are covered with imitation tiles, since real tiles would be
too expensive for Exposition purposes.

Material of the Statues

The architectural statues - that is, those directly connected with the
architecture - are of smoked-ivory tone, so that you see them as part of
the architectural scheme.

Those far away from the eye, used as free statues, are, in the main,
golden.

Those nearer the eye simulate bronze, the special color that seems
worked out from the color of the blue eucalyptus.

All the statues of the Exposition palaces and courts are of travertine,
the material of which the buildings are made.

Machinery Palace

Architects - Ward and Blohme of San Francisco.

The palace is one of grandeur, dignity and great beauty.

The architecture has been inspired by such old Roman thermae as the
Baths of Caracalla, the Baths of Titus and the like.

The ornamentation is of the Italian Renaissance style, worked out on a
building that in form suits the needs of a great palace of machinery.

The gable points at the top of the western façade are such as one sees
in the restoration of the Baths of Caracalla.

The first and only other expression of this style in America is seen in
the Pennsylvania Station of New York City.

In the Transportation Palace can be seen a model of the proposed plan
for a new Union Depot for Chicago, with a similar gabled effect.

The three arches reflect on the exterior the three aisles of the same
portion of the palace within.

The great columns in front, and also in the vestibule, simulate Siena
marble.

The entablature carried across the faces of the arches supports American
eagles by C. A. Humphries.

Eagles are also seen at the corners of the Corinthian capitals. This
bird of freedom can be found all over the Exposition.

Notice that Mr. Jules Guerin, the great color wizard, leads you by means
of the blue ground of the capitals, the blue between the dentils, the
blue between the consoles to the blue sky above.

The principal lighting is by great clerestory windows - great windows at
the north and the south ends - also by skylights.

The building covers nine acres, and is the largest wooden structure in
the world. It is about three blocks long.

The statues as well as the reliefs are by Haig Patigian of San
Francisco.

Vigorous types like machinery itself are used.

The generation, transmission and application of power as applied to
machinery are most interestingly represented.

The decorated drums of the columns show the Genii of Machinery.

The eyes of these figures are closed, reminding you that power comes
from within.

Notice how from any point of view your figures suggest support at the
sides of the drum.

The very position of the arms gives you a strong feeling of support.

The figures on the spandrels represent the application of power to
machinery.

The figures on the pedestals represent:

1. "Steam Power" with the lever that starts the engine.

2. "Invention" showing a more intellectual type of face, carrying the
figure with wings spread, suggesting the flight of thought. This
thought, as it were, is above the world.

3. "Electricity" with foot on the earth, suggesting that electricity is
not only in the earth, but around it. He carries his symbol,
electricity.

4. "Imagination," showing man with his eyes closed - seeing within. The
bird of inspiration, the eagle, is about to take flight.

The wings on the head suggest the rapidity of thought or action.

Inside this great palace one sees the latest inventions in machinery.
Ponderous machines capable of shaping tons of metal, great labor-saving
machines, and all sorts of electrical appliances. "Safety first" is a
pronounced feature of this exhibit.

Palace of Varied Industries

Architect - W. B. Faville of San Francisco.

The high walls, averaging seventy feet to the cornice, with their
respective buttresses, are strongly suggestive of the California
missions of the eighteenth century.

The "California bear" and the Seal of California are in decorative and
suggestive evidence at the tops of the buttresses.

The green domes on the palace belong to the Byzantine school of
architecture, such domes as one sees in the mosques of Constantinople
and other Mohammedan centers.

The windows seen in the corner towers are the same kind that one sees
used in the majority of mosques.

The beautiful central portal, facing south, is modeled after the Portal
of the Hospice of Santa Cruz at Toledo, Spain.

It is 16th century Spanish Renaissance, known as the Plateresque style
(from platero, silversmith).

The columns suggest a wood origin and look as if they had been turned in
a lathe.

The portal is the color of cork, illuminated here and there with niche
walls of pink, and touches of ultramarine blue.

The fine figure work representing the modern industrial types is by
Ralph Stackpole of Oregon, whose home is now in San Francisco. He
expresses himself most simply and unaffectedly, in clear, broad
treatment, and makes the ordinary workman a man to be honored and
respected.

The upper figures represent an old man handing his burden to a younger
man. The Old World Handing Its Burden to the Younger World, that is
America, is finely suggested.

The keystone figure represents The Power of Industry, the man who both
thinks and uses his hands.

In the tympanum are the types representing the Varied Industries.

In the center is Agriculture representing the food side of life. On the
left a workman, possibly an architect, suggests the refinements of the
varied industries, while on the right one sees the ordinary workman with
his sledge-hammer, bringing to mind the rougher side of industry. In the
left corner a woman with her spindle - a lamb standing near - recalls
the making of textiles. Commerce occupies the right corner, holding the
prow of a vessel with its figurehead.

The Workman with his pick is repeated in the four niches.

The two flanking portals are also in the plateresque style with devices
of this Spanish Renaissance period represented on them.

The shields, or cartouches as they are called, have no special meaning,
being only ornaments of this particular period.

The portals on the east of the Palace of Varied Industries and also of
the Palace of Mines are suggestive of gateways of old Roman walled
cities, like those of Perugia, for instance. This Italian type of portal
is chosen since Machinery Palace opposite is in the Italian style of
architecture.

Notice how the pastel pink accents the portal.

The figure of "The Miner" in the niches is by Albert Weinert, whose work
in the Congressional Library at Washington is well known.

The Palace of Varied Industries has an exhibition of the more refined
manufactures, those articles that are regarded more as luxuries, such as
bronzes, jewelry, silverware, fine pottery, porcelains, rugs, leather
work, silks, etc.

The Palace of Mines deals with the smelting of metals, a fine exhibition
of different ores, and above all "Safety First" in its relation to
mines. The Mines Rescue work is most interesting.

Flora of the Avenue of Progress and the Avenue of Palms

Eucalyptus globulus (blue gum).
Eucalyptus robusta.
Eucalyptus viminalis.
Cupressus macrocarpa (Monterey cypress).
Laurestinus.
Australian pea vine on the palms.
Muhlenbeckia (Australian mattress vine) against the base of Machinery
Palace.
Honeysuckle against the base of the Varied Industries Palace.
Lawson cypress.
Libocedrus decurrens (incense cedar).
Acacia floribunda.
Acacia latifolia.
Albizzia lophantha.
Abies menziesü (fir).
Picea Engelmanni (spruce).
Picea excelsa (from Norway) (spruce).
Pittosporum.
Rhododendrons (notice how they work upon the pink walls) (for color).
Cinerarias (for color).
Cyclamen (for color).
Dracaena indivisa (cabbage palm).
Woodwardias.
Japanese strawberry.

Notice Mr. McLaren's devices for covering the ground.

The lophantha lawn, it might be called, is an artificial device for
producing a most lovely effect. The tree is stripped of all branches
until it has attained the height of four feet, the top being trained and
flattened into a head five feet across. The trees are placed close
enough together so that the tops interlace, producing thereby a
continuous green surface.

The veronica, buxifolia is the light green border at the side and in
front of the Palace of Varied Industries.

Achanea from New Zealand and Australia is used on the banks and accords
most harmoniously with the albizzia lophantha.

The abelia rupestris is the red leafed plant with pink blossoms.

Peonia moutan daikaqura is the peony.

Since the small plants in front of the permanent shrubs are changed
periodically, a list of everything planted is of course out of the
question.

The technical names are suggested with a few of the trees and shrubs so
that you can continue this line of work for yourself.

Since the botanical names are placed on the plants in many places you
can easily find what you seek.

The Palace of Manufactures and also The Palace of Liberal Arts
(Since they are alike.)

The portal is Spanish Renaissance with grill work. Notice the pastel
pink, turquoise blue and burnt orange on this portal. This coloring is a
means of strongly accenting this fine architectural feature.

The panel (representing the making of glass, metal work, textiles,
statuary, etc.), as well as the female figure holding the spindle and
the male with the sledge-hammer, are by Mahonri Young of Salt Lake City,
Utah.

The wall niches show elephants and lions used alternately - a fine
oriental touch. The heads are used as fountains.

"Acroterium" is the Victory on the gables, many times repeated. It is
the work of Frank Edwin Elwell, curator of Ancient Art, at the
Metropolitan Museum of New York.

Viewing the figure from the side, you are reminded of the Victory of
Samothrace. She is noticeably beautiful against the late afternoon sky
and also against the blue morning sky.

You will notice that the flora is just the same in the main in front of
these buildings as it was in front of the others you have seen, the
grass lawn here taking the place of the albizzia lophantha.

Sweet peas, daffodils, rhododendrons, evening primroses, Japanese
magnolias, coronilla are added for color.

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