Part 9 (1/2)

Above the doore found the three ave further distinction to this court and enriched the coloring In ”Fruits and Flowers” Childe Hassam had done one of his purely decorative pictures, without a story, contenting hiraceful pictures and delicate color scheme Charles Holloway orical, the floating figure of the wo youths Over the ory, ”Victorious Spirit,” the Angel of Light, ide-spread wings of gold, standing in the center and keeping back the spirit of materialism, represented by a fiery horse driven by his rider with brutal energy ”Observe how successfully Mathews has chosen his colors

These deep purples help to bring out the splendor of those golden tones

This canvas is unquestionably one of the best of all the murals It shows that in Mathews San Francisco has a reat mural painters of the country”

On the way to the second half-court we had a chance to see the South Wall at close range, with its rich ornamented doorways, its little niches and fountains devised to ay Those little elephant heads were another sign of Faville's careful attention to ornaround, contrasting with the deep green of the planting

At the Court of Floe lum's ”Pioneer, too old to be typical, different froe or in youth who came to California in the early days But it justified itself by suggesting perhaps the greatest of the pioneers in old age, one who had groith the coh,” said the architect, ”even if the likeness isn't close But why those s on the horse? Like the rest of the pioneers, Joaquin was a ht well na, McLaren at his best, and for its Italian Renaissance decoration, with that pretty pergola opening out on the scene, Calder's Oriental ”Flower Girl” decorating the spaces between the arches And those lions by Albert Laessle were a fine decorative feature The fountain, ”Beauty and the Beast,” by Edgar Walter, of San Francisco, was one of the inal and decorative pieces of sculpture we had seen The figure of the girl standing on the coils of the beast was re over the boith the pipes of Pan gli picture There was a whiestion in the use of the decorative hat and sandals on the nude figure In detail those ters at the end were slightly different from the other two Like the others they served as a decoration of the wall, breaking the long lines”

XIII

Near Festival Hall

At close viee found the Festival Hallthan it had seeance associated with the best French architecture But, unlike s here, it did not develop out of a central idea Much of its ornamentation seemed put on from the outside

Of all the do

It did not even justify itself as being a ht ”This kind of architecture doesn't really belong in this country; but it see its way Observe the waste of space involved

However, the curving arches on either side are rather char into the whole structure a certain ahout the whole Exposition you feel that the architects haven't worked lory They have appreciated the chance of doing so, out of the commonplace”

The sculpture by Sherry Fry was evidently executed with the idea of festivity inWoman” and two ”Floras” decorated with flowers, and ”Little Pan,” and ”The Torch-bearer” reproduced above each of the sures did not quite indicate the real character of the building, intended for concerts and lectures and conventions, rather serious business The coloring, too, of the statues, was disappointing, the dull brown being out of key with the light green of the domes

”In the smaller concert room upstairs, Recital Hall,” said the architect, ”there is so of the north stairway there's a third , all done by the man who has been called the Burne-Jones of A hidden away there, they ought to have been put in the Fine Arts Building They represent solass, and they have a wonderful depth and brilliancy”

As we drew near the Avenue of Progressthe nificent doorway of the Varied Industries, overladen with ornamentation ”It was clever of Faville to put that doorway just in this spot where it would be seen by the crowds that entered by Fillmore Street It comes from the Santa Cruz Hospital, in Toledo, Spain, built by the Spanish architect, De Egas, for Cardinal Mendoza, one of the most famous portals in Europe The adaptation has been wonderfully done by Ralph Stackpole, with those figures of the A a pick at either side and the seroup on top That panel is one of the finest pieces of sculpture in the Exposition It has tenderness and reverence It's the kind of thing the ious themes would have been enthusiastic over See how siroup of workers, with the e with the lamb close by, the artist and the artisan, and the woesting coent workroup on top is a very pretty conception, the Old World Handing Its Burden to the Younger World, with its suggestions of the European people co American children”

XIV

The Palace of Machinery

On reaching the Avenue of Progress we found ourselves at the gayest corner of the Exposition, with two fine vistas of the two avenues To our right stood the s in the world, so successfully treated by the architect that it did not give the faintest suggestion of being cumbersome or monotonous

”It's the Baths of Caracalla in Roables above the main entrance are taken directly from the baths See how si as a whole is a perfect exa architectural principles that are in vogue today, a others the econo of thrusts If the Roman Emperor as nicknamed Caracalla on account of the hooded military tunic that he made fashi+onable in his day hadn't built those baths we should probably not have the glorious Pennsylvania station in New York, that some of the architectural authorities consider theof its kind built in this country Although the work here is all concrete, Clarence Ward, the architect, says that with care, it could last hundreds of years”

Noere struck by those vigorous-looking figures, by Haig Patigian, that stood on top of the Sienna coluned to express the power of machinery At the entrance the reliefs of the coluht have sur of the buildings in designs that kept the contour of the colu and well-,” said the architect

”It actually conveys the sense of trey, and by the si new and interesting”

When we entered we found the supports of the roof left bare Instead of being unsightly, they had a kind of beauty and inificence of the spaces here on the floor and up to the ceiling

Soht were necessary He said it wasn't; but he wanted it for pictorial effect, to carry out the feeling of ures that stood on the columns in front of the Palace of Machinery the architect found a theure as the chief inspiration of art ”It is possible that we shall change our minds on that subject,” he reet away from the worshi+p of the body Ever since the Christian era, of course, the physical has been deprecated We may come to see that the body is useful as it develops and serves the spiritual, that is, as it subordinates itself Thein spite of the Christian influence This Exposition sho strong it remains”

”But ould you have in place of the huure as the inspiration of art?” I asked