If there is one portion of the Exposition building scheme that does not seem to "belong" to the main group of palaces, it is that which lies south of the Avenue of Palms, including the South Gardens, Festival Hall, and the Palace of Horticulture. The relation of the two buildings to the main courts and palaces is clear: Festival Hall terminating the cross axis through the Court of Abundance and the Court of Flowers; the Palace of Horticulture terminating the cross axis through the Court of the Four Seasons and the Court of Palms. But though the organic relationship is apparent, the least discriminating of critics can see that these buildings are of an architectural style not in harmony with the central group of palaces. Both structures lack that fine sense of proportion and that simple and impressive dignity which characterize the architecture of the courts; and both are more or less pretentious and ornate.
The South Gardens
The South Gardens, like the buildings, have a certain magnificence but at the same time lack any distinctive appeal. The three basins with their fountains are imposing, and the individual beds of flowers are gorgeous in their profuse ma.s.sing of color; but the distances are so great, and the sense of enclosure that means so much to gardens is so far lacking, that the lover of formal gardening will be less satisfied here than at several other places in the grounds.
Sculpture. The sculpture of the South Gardens is all on the three fountains. The immense central group, the Fountain of Energy, already has been described. In the other two basins the Mermaid Fountain is repeated. This is an attractively ornate bit of decorative design, surmounted by the figure of a mermaid with a dolphin. The figure was modeled from designs by Arthur Putnam. It is typical of the fine strength of his work, and at the same time appealing by the grace of its sinuous lines.
Festival Hall
Festival Hall, designed for the many conventions and musical festivals of the Exposition period, is of typically French architecture of the modern school. The building is not unpleasing, but there is little about it to hold the interest. Robert Farquhar was the architect.
Sculpture. All the sculpture on Festival Hall is the work of Sherry E.
Fry. The figures are well suited to their purpose, from the slender "Torch-Bearer," surmounting the minor domes, to the heavy reclining figures on the pylons at the main entrance. Most of the statues are too roughly finished to have more than a decorative interest, but the two groups flanking the main stairway are worthy of study. These two "Flower Girls," one on either side, have a beautiful flowing grace. But quite the most appealing things here are the two minor figures before the pedestals on which the Flower Girls stand. Before the one at the north is a captivating boy Pan with a lizard. Half hidden in the shrubbery at the other side is the sitting figure of a girl, attractively immature and charming in line.
Palace of Horticulture
The Palace of Horticulture is characterized by that combination of Eastern and Western architectural motives which is so noticeable throughout the buildings. The dome is Byzantine, while the rest of the building is of Renaissance, or modern, French architecture. The dome considered alone is an almost perfect bit of design, beautifully proportioned and finely simple. The rest of the building is in general over-decorated, the portals especially being heavily loaded down with meaningless ornament. Apologists for the building say that the profuse ornateness rightly suggests the richness of California"s horticulture.
Perhaps the best view of the dome is from the east end of the Avenue of the Nations, near the Denmark building, because from there one can see it un.o.bstructed, escaping the disturbing effect of the portals and their spires. The Palace of Horticulture was designed by Bakewell and Brown of San Francisco.
Sculpture. All of the sculpture here is purely decorative. The frieze at the base of each spire, consisting of heavy female figures modeled in pairs, is by E. L. Boutier. The ornamental Caryatides of the porches are by John Bateman.
Palace of Fine Arts
The Fine Arts Palace has been more admired, probably, than any other architectural unit at the Exposition. The reasons are not far to seek.
The architect has used those cla.s.sic forms which for ages have been recognized as best suited to monumental structures, and yet he has used them with originality. The building is cla.s.sically n.o.ble, but without cla.s.sic austerity or coldness. It is at once beautiful in form, rich in decorative detail, and satisfyingly warm in color. Moreover, it has the finest setting of all the Exposition buildings. The bigness of conception, the boldness with which the largest architectural elements have been handled, the perfect arrangement of architecture, planting, and reflecting waters-all these combine to create the most compelling picture on the grounds.
The arrangement of the building is deceptive. As one looks at it across the lagoon, it seems like a single unit, so well does the planting tie it together, though there are really four unconnected structures: the rotunda, two detached peristyles at the sides, and the art gallery proper at the back.
Architecture
The style of architecture is Cla.s.sic, freely treated. The rotunda is Roman. The peristyle is more Greek in feeling, in the simplicity of general form, with splendidly modeled capitals, full strong columns, and dignified cornice. The curved facade of the main building, facing the rotunda and peristyle, is very original in its arrangement of cla.s.sic architectural motives and ma.s.ses of foliage, with a Pompeian pergola on top.
The color scheme of the whole building is worthy of study. And although the structure when seen by day deserves all the praise that has been bestowed upon it, by night its beauty is beyond description. One should sit long at the edge of the lagoon opposite the rotunda, and watch the illuminated building itself and its reflection in the waters below, to feel the full spell of it. No one should miss, either, the walk between the peristyle and the main building on one of those nights when there is soft local illumination, for nowhere else on the grounds has the poetry of lighting been so perfectly realized.
The architect of the Fine Arts Palace was Bernard R. Maybeck, a Californian.
Sculpture
The sculpture about the lagoon, including that under the peristyle and rotunda, is to be treated in the next chapter, except that which is definitely a part of the building"s integral decorative scheme.
The reliefs outside the rotunda, on the attic above the cornice, represent man"s effort to gain the ideal of art. To see these reliefs best, one should stand directly across the lagoon from the rotunda. In the panel facing East one sees the figure of Art personified. On either side is a group showing the champions of art combating centaurs, that stand for the commonplace, materialistic things of life. In the next panel to the left, facing Southeast, is represented the bridling of the winged horse Pegasus, which to the Greeks symbolized the attainment of poetic inspiration. Here also are figures representing the arts of literature, sculpture and music, by the familiar symbols, a lamp, a statuette and a lute. The panel to the right of the center one shows Apollo, sun-G.o.d and patron-G.o.d of the arts, drawn in his chariot, with a procession of devotees. These panels are repeated on the other five faces about the dome. They are among the finest reliefs on the Exposition buildings, and are by Bruno Louis Zimm.
The figures within the rotunda, surmounting the eight columns are "Priestesses of Culture," by Herbert Adams.
The flower-box sculptures are by Ulric H. Ellerhusen-both those on the ground and those at the corners of the boxes surmounting the peristyle.
The ladies on the latter, looking so steadily into the boxes, do not represent "Curiosity." The plan was to have ma.s.ses of foliage overflowing, and half-covering the figures; and when this was given up, the decorative women gave the unexpected impression of being deeply absorbed in something happening out of sight of the spectator below. An explanation which has gained some currency is that the figures represent "Introspection," which seems quite apropos.
The kneeling figure (unnamed) on the edge of the lagoon before the rotunda is by Ralph Stackpole. It is one of the most appealing bits of all the Exposition sculpture, well expressing devotion and reverence. It cannot be reached from the rotunda side, this portion of the sh.o.r.e being closed to the public.
The figure over the doorway of the gallery is Leo Lentelli"s "Aspiration." During the early months of the Exposition this statue was suspended from behind, the base on which it now stands having been placed late in the Spring. As the figure first appeared, hanging in air, it caused more comment than any other sculpture on the grounds. The most appropriate explanation was that since the figure lacked any visible means of support it probably was meant to represent "California Art."
Even the recent alterations have failed to save it from seeming graceless and out of place.
Mural Paintings
The eight panels in the dome of the rotunda are by Robert Reid. There are two series of four paintings each, called "The Birth and Influence of Art," and "The Four Gold"s of California." They form perhaps the least interesting of the several groups of murals, being vague in meaning, unpleasantly restless in composition, and only occasionally attractive in coloring.
The easiest panel to identify is that called "The Birth of Oriental Art," which is on the west wall, closest to the doorway of the main building. Starting with this and following around the dome to the right, the pictures are in this order:
1. The Birth of Oriental Art. A man in armor on a fanciful, dragon is attacking an eagle, symbolizing man"s effort to attain the inspiration of the heavens. Below, China can be recognized in the man with a brilliant colored robe, and j.a.pan in the woman with the bright parasol.
2. Gold is symbolized by a woman with a wand, on a cornucopia overflowing with gold.
3. The Ideals of All Art. The ideals which animate artists are shown: Truth with her gla.s.s; Religion typified in the Madonna and child; Beauty, with the peac.o.c.k; and the Militant Ideal with a flag. Above and below are figures carrying the wreath and the palm, the artist"s tokens of success in attaining the ideal.
4. Poppies, the second "gold" of California.
5. The Birth of European Art. Four figures surround an altar on which burns the sacred fire, three being merely attendants preserving the flame, and the fourth the guardian holding high a torch lit at the altar. A man from earth grasps this torch as he leans from his flying chariot. A woman in the lower corner holds a crystal gazing-globe, wherein the future of art has been revealed, and she turns to gaze after the man who is carrying the sacred fire to earth.
6. Citrus Fruits, the third "gold" of California.
7. The Inspiration of All Art. Two Angels of Inspiration are at the top, while below to the left are Sculpture, with a winged statuette, and Architecture, with the scroll and compa.s.s; and to the right, Painting, with brush and palette, Music, with a lyre, and Poetry, with a book.
8. Wheat, the fourth "gold" of California.
The Outdoor Gallery of Sculpture
Many of the finest bronzes and marbles of the sculpture section are given an adequate setting which would be impossible within the gallery building, by being placed in the open, along the two ends of the lagoon, through the peristyles, and under the Fine Arts rotunda.
As this group of sculpture embraces all types from the playful to the very serious, it is foolish to try to appreciate the whole series at one time. Perhaps the best way is to start first to familiarize oneself with the smaller bronzes of the purely lyric type, the charming garden figures, sun-dials, and miniature fountains, that make up such an attractive part of the collection. Note how often the names of Edward Berge, Janet Scudder and Anna Coleman Ladd recur in connection with this graceful, intimately appealing sort of sculpture. On another day, when life seems soberer, spend all your time in study of the more serious works, such as Saint Gaudens" "Seated Lincoln," and McKenzie"s "The Young Franklin," noting how the dignity, sureness of touch, and sound purpose of these make them more appealing with longer acquaintance. On another day take the intermediate group, that is dignified but less austere in theme-such works as Sherry Fry"s "Peace," and Berge"s "Muse Finding the Head of Orpheus." Studied systematically, there is in this series of statues a broad education in the appreciation of sculpture.
For convenience in reference the whole series is listed here. In regard to those works which the labels make self-explanatory, no comment is added, unless to call attention to some special quality which the unpracticed eye might miss. Where the symbolism or "story" is obscure, an explanation is given.
South of the lagoon are: 1. Sea Lions by Frederick G. R. Roth. 2. The Scout by Cyrus E. Dallin. Note the remarkable clean-cut quality of this equestrian statue. 3. Wind and Spray fountain, by Anna Coleman Ladd. 4.
Diana by Haig Patigian-a graceful statue of the Greek G.o.ddess of the hunt, which is in marked contrast to the same artist"s strong figures on the Palace of Machinery. 5. Peace by Sherry E. Fry. This beautifully modeled figure has a cla.s.sic simplicity that is worthy of study. 6.
American Bison by A. P. Proctor.
Beyond the second Bison, beside the roadway that runs behind the Fine Arts Palace, is a model of the Kirkpatrick Monument, at Syracuse, New York, by Gail Sherman Corbett. The central figures represent an Indian discovering to a Jesuit priest the waters of an historic salt spring at Syracuse.
In the circle at the south end of the peristyle are: 1. Seated Lincoln by Augustus St. Gaudens generally considered one of the n.o.blest works of the greatest American sculptor. Note especially the dignity of the whole, and the sympathetic modeling of the face. 2. Bust of Halsey C.