Books: Palaces and Courts of the Exposition
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Juliet James >> Palaces and Courts of the Exposition
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Pass thru this Tower of jewels noticing in the eastern and also the
western arcades two fine fountains.
On the left is the Fountain of Youth by Mrs. Edith Woodman Burroughs of
Flushing, Long Island.
The simple, beautiful, naive figure standing on the pedestal is Youth,
the United States, the child that has come from old parents (Europe).
The old father and mother have had many children - many little primroses
you will notice - but none more dear than this one. The charming panels
will remind you that the old people of today are being rowed by the
young. These children row the vessels, bring them to shore and fasten
them to their moorings.
Many of the old people are deaf or blind and are straining to follow the
young who, with willing hands are guiding them on. A most charming,
lovely work is this, and adds a fine touch to the open book that we are
reading. Don't lose the eagle and laurel wreath back of Youth. They are
significant.
Oh the other side is the fine formal fountain of "El Dorado," by
Gertrude Vanderbilt Whitney of New York.
The fountain of El Dorado brings to mind the old Indian legend of El
Dorado, the Gilded One:
There was once among the South American tribes a belief that in a
certain far-off country lived a king called El Dorado, the Gilded One.
He ruled over a region where gold and precious stones were found in
abundance.
The story influenced a vast number of adventurers who led expeditions to
seek the land of golden treasure, but, notwithstanding the fact that
they searched most carefully and for long periods, they all failed to
find it.
The idea of the unattainable gave the suggestion to Mrs. Whitney for her
fountain.
The gold of El Dorado was used as the symbol of all material advantages
which we so strongly desire - wealth, power, fame, etc.
In the panels are seen the men and women of life in their mad race for
the unattainable.
Many have had a glimpse of El Dorado, the Gilded One, and are rushing on
to pass the mysterious gate behind which the desires of life await them.
Some faint by the roadside or stop in their race for the goal to contend
or to loiter by the way, but those nearest the El Dorado increase their
speed - rush madly on.
Beside the gateway that has only just allowed the fabled El Dorado, the
Gilded One, to pass through are two mortals who have come close to the
land of their desires, but only to find the door shut and slaves beside
it barring the way. Their strength is expended, their courage gone in
the long race for material things. The panels of this fountain tell us
in satirical language something we can profitably think over and realize
if we will.
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The Ethical Side of the Court of the Universe
After man has created the great "Isthmian Way," it is well to think on
his fine ethical standards.
Read on the triumphal arches these quotations on truth, honor, justice,
wisdom:
(Spain)
"Truth, witness of the past, counsellor of the present, guide of the
future." (Cervantes in Don Quixote.) East side of Arch of the Setting
Sun.
(China)
"They who know the truth are not equal to those who love it." (Confucius
from the Confucian Analects translated by James Legge.) West side of the
Arch of the Rising Sun.
(Arabia)
"He that honors not himself lacks honor where soe'er he goes." (From the
"Mu'allaqua" of Zuhayr ibn Abi Sulma translated by Reynold A.
Nicholson.) East side of the Arch of the Rising Sun.
(Italy)
"The world is in its most excellent state when justice is supreme."
(Dante Purgatoria.) West side of the Arch of the Setting Sun.
(Siam)
"A wise man teaches, be not angry; from untrodden ways turn aside."
(From the sayings of Phra Ruang, Prince Ram Khamheng of Sukhothai.) East
side of the Arch of the Rising Sun.
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Coming into this great Court of the Universe one hopes that truth,
honor, justice and wisdom will be maintained.
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The Floral Side of the Court of the Universe
This court will show a succession of beautiful bloom throughout the
year. The daffodils will have their golden season, the rhododendrons
their brilliant sheet of color, and in May the columns will support our
various climbing roses, exhaling their perfume for all who come to this
Land of Flowers.
Summer flowering annuals will follow and later the autumnal flowers.
Read the quotation on the aisle side of the Arch of the Rising Sun:
"The balmy air diffuses health and fragrance,
So tempered is the genial glow that we know neither heat nor cold.
Tulips and Hyacinths abound.
Fostered by a delicious clime, the earth blooms like a garden."
- Firdausi.
(Annals of Kai-Kaus, in James Atkinson's translation of Shah Nameh.)
So, while thinking of a Persian garden in the quotation, we feel the
applicability of these words to the California gardens.
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The Festival Side of the Court of the Universe
There is still another side to realize in this meaningful court. The
exposition is a great festival, a triumphal festival, and you meet the
suggestions of it all around you.
This great court is entered on three sides by Triumphal Arches.
The Triumphal Arch of the Occident,
The Triumphal Arch of the Orient,
The Triumphal Arch of the Tower of Jewels.
The prototype of the triumphal arch is seen in many places, most
satisfactorily today in Rome.
The Arch of Constantine is the best model for us to examine, for it has
three openings - even if the shape of the side opening is not the same
as that of the arches before us.
The great court is hung with festoons (on the frieze) and decorated with
the vine and its grapes (on the architrave).
The bulls' heads with festoons are represented on the frieze as they
once were on the altars of old when the festival, "The Feast of the
Sacrifice," was celebrated. (Refer to the same subject in The Court of
the Four Seasons.)
In stately procession around the sunken garden are seen the Canephori
bringing their jars of nectar.
The Canephori in old Greek days were the maidens who formed part of the
great processions, such an one as the Panethenaea, carrying on their
heads baskets which held the consecrated temple furniture, to be
deposited at the end of the long march in the temple.
Here the sculptor has taken the license of representing men with the
maidens, and instead of baskets has used vases.
This idea of the festival is strongly accented at night when you are
transported to old Greek and Roman days.
Follow after this procession and you will notice that Paul Manship's
"Joy of Living," or "Motion," as it is also called, has entered. The
joyous girls in perfect abandon are coming to join the happy throng.
They bring their offerings in the shape of great wild-rose festoons,
well suited to the "Wild Roses" who carry them.
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 New
York, and they represent:
1. The Adventurer, the type of man of the 16th century who pushed out
into the wilderness of the southwest.
2. The Priest, the type of man who came to convert the country in the
16th century.
3. The Philosopher, who by his fine knowledge of the Greek and Latin
manuscripts was able to disseminate knowledge in the 16th century
thruout the new regions.
4. The Warrior, the type of 16th century soldier who came to conquer the
country.
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 the
Tower. That on the right is Cortez (by Chas. Niehaus), the conqueror of
Mexico - the man who wrested Mexico from Montezuma for the kingdom of
Spain.
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 Nuńez de Balboa, crossing the Isthmus of Panama, discovers the
Pacific Ocean.
1904
The United States, succeeding France, begins operations on the Panama
Canal.
1915
The Panama Canal is opened to the commerce of the world.
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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 of
Trajan or in the Column of Marcus Aurelius, in Rome.
Architect - Symmes Richardson, one of the junior partners of the firm of
McKim, 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 Adventurous
Bowman, 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 flęche 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 of
San 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.