Part 1 (2/2)

1914, by John McLaren, Landscape Engineer, as part of the most colossal system of successful transplanting ever undertaken in the history of the world. The South Gardens adjoin the Avenue of Palms and extend to the Exposition enclosure along the south boundary line, where a wall fifty feet high and ten feet wide has been erected of a solid green moss-like growth, studded with myriads of tiny pink star-like blossoms. This great wall is perforated by simple arched masonry entrances, leading rough the richly planted foreground formed by the South Gardens.

Basins of reflecting blue waters extend to the right and left of a central fountain of colossal proportions. The basins themselves are punctuated at their east and west ends by fountains of subordinate size, back of which are Festival Hall to the right and the Palace of Horticulture to the left, as we enter the green wall portals from the city of San Francis...o...b..yond. To the south and west of the Foreign Countries, States Buildings and Gardens, a graceful contour of hills extends, sloping onward to Golden Gate, and having a c.o.xcomb of pine and eucalyptus. Broad vistas of city, forests, water, hills and mountains present themselves at every point. Gray, green, blue and lavender vistas come into view through portal, colonnade, and arch.

The Palace of Fine Arts

This impressive unit faces the rising sun with its colorful facade. The plan of this composite structure suggests the Star and Crescent of Mohammed. The architecture shows a free interpretation of early Roman forms. It is, in fact, a purely romantic conception by Architect Maybeck, entirely free from traditional wors.h.i.+p or obedience to scholastic precedent. Its greatest charm has been established through successful composition; the architectural elements have been arranged into a colossal theme of exceptional harmony, into which the interwoven planting and the mirror lake have been incorporated in a masterly way.

The entire composition bespeaks the mind of a romanticist, whose productions are swayed more by nature's glories than by scholastic tradition.

The Palace of Horticulture

The appearance of this building so clearly expresses its purpose that a definition of style promptly suggests the t.i.tle of Horticultural Architecture. Its decorative spire-like finials resemble the cypress and poplar. The cl.u.s.ters of floral ornaments and festoons reflect one of the fundamental purposes of decorative glory to which all plant life has been decreed. The bulblike gla.s.s dome is like an enormous dewdrop of beautiful proportions and iridescent color. All this beauty was conceived by Architects Bakewell and Brown, who have given full evidence of their appreciation of the purposes to which this Palace was a.s.signed.

Festival Hall

This structure counterbalances the Palace of Horticulture at the east end of the South Gardens. Mr. Farquhar's interpretation of Italian Renaissance in this interesting building is replete with charming detail; it is truly expressive of its festival purposes. It is seen to best advantage when reflected in the South Garden Pool, from the circle surrounding the Fountain of Energy, and from the Court of Flowers.

The Palace of Machinery

This colossal structure of Roman type was designed by Architects Ward and Blohme. It dignifies the east end of the main composition in a most impressive manner. Its general character is similar to the Roman baths of Caracalla. The vestibules are particularly impressive, when viewed longitudinally. The interior Roman vaulting, formed by myriad trusses, is similarly impressive in form and scale to the interiors of renowned existing Basilicas. The surrounding tree, shrub and flower planting along the simple outer walls is rhythmically consistent with the Roman niches and entrances and lends added charm to the dignity of this tremendous structure. The cornices are especially noteworthy in their detail, scale and proportion.

Outer Walls of the Group of Eight Palaces

The impressive simplicity of the outer walls is enhanced by a succession and variety of portals, niches and arcades of Spanish and Italian origin of great beauty. The simple dignity of the plain travertine wall surfaces is heightened by tile-covered cornices terminated by pavilions.

A rich foreground of rhythmic planting of trees, shrubbery and flowers, emphasizes the unity of the eight palaces, the corporate purposes of which have been so successfully interpreted by Architects Bliss and Faville.

The typical domes surmounting the eight palaces also express the similarity of purpose for which these palaces are intended. In depicting the industrial arts, these domes lend an Oriental expression to the entire composition, consistent with the citadel character of the general scheme. The banner poles, with their Oriental streamers, and the illuminating standards, set in the foreground planting of the outer walls, lend a consistent festive character to these long facades.

The Tower of Jewels

The appellation ”of jewels” became an addition to the original t.i.tle, after the Tower was thus gorgeously arrayed. The Tower was contemplated in conjunction with the main group of palaces, as a clue to the composition, and as of vital importance to the general plan. Its composite architecture can best be defined as of White and Yellow Race derivation. It clearly indicates a mingling of the architectural characteristics of the people of the entire world, as the architects, Carrere and Hastings, probably intended. It gives definite expression to the international purposes for which this Exposition is designed. The jewel enrichments add effectively to its Oriental regal display. The Tower const.i.tutes an indispensable integral in the unit composition. It appears to best advantage under the mysterious effects produced by Mr.

Ryan's night illumination.

The Court of the Four Seasons

This dignified, restful court of Roman cla.s.sic character, designed by Architect Henry Bacon, expresses the Season theme perfectly. The alcoves, which symbolize the Four Seasons, are admirably conceived in their relation to the entire composition. The arched side approaches of the colonnades and the colossal Roman niche at the south end together form a glorious composition which has been greatly enhanced by the arrangement of planting by Mr. Bacon.

The Court of the Universe

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