The Architecture and Landscape Gardening of the Exposition by Louis Christian Mullgardt (old books to read .txt) 📖

Machinery Hall One of the Minor Entrances

Flanked by Corinthian columns which reflect, in smaller size, the great pillars of the main entrance, four minor doorways break the long western wall of the Palace of Machinery on either side of the central entrance, the architectural and sculptural design in them being similar to that of the main portal. The frieze in low relief, encircling the bases of the columns and representing the genii of mechanics, is repeated from the larger entrance, as are also the figures in the spandrels, typifying the application of power to machinery.

The color treatment of these doorways is especially brilliant. The Corinthian columns simulate Sienna marble. The background in the spandrels is stained a rich orange. The shell canopy, as in other panels where it is used throughout the Exposition, is in cerulean blue, the wall space beneath it is a deep pink, while the door is the customary green.

The landscape planting along the entire wall is superb. Against the ivory-tinted background, various species of evergreens are grouped with consummate skill.

Palace of Mines A Lamp Niche in the Court

The Court of Mines, opening directly across from the main portal of Machinery Hall, is the entrance to the inner courts from the Avenue of Progress. The effective massing of the shrubbery is enlivened by the gay banners and streamers, designed by Jules Guerin, which are one of the most stimulating decorative features of the Exposition. The walls on either side are broken by the entrance portals to the buildings, done in Italian Renaissance style. Their distinctive features are the niches on either side of the entrances, in which are placed vigorous figures, designed by Albert Weinert, and the ornamental lamps below. The court is illuminated at night by concealed light thrown on the walls from reflectors in the forms of interesting green shells resting on shapely standards.

Court of Ages The Tower by Night Illumination

The Court of Ages was designed by Louis Christian Mullgardt of San Francisco. Of all the Exposition courts it is the most original and imaginative in conception, the most complete in its organic, structural unity, the richest in ornament, in poetic suggestion, in the depth and dramatic appeal of its symbolism.

The Court suggests many architectural periods and types, yet eludes classification under any one of them. The Gothic clearly predominates, with traces of English, Spanish, and Portuguese elements. With further hint of Romanesque, of Moorish and of French influence, these varying elements have been so fused in the imagination of the architect that the resultant creation is independent of all of them in its daring, yet restrained, originality. In the magnificent square tower at the center of its northern end, all the beauty and spiritual import of the Court culminate. Its aspiring length of line, unbroken from base to summit, faces poise and uplift, the broad, plain surfaces give nobility and strength and the exquisite richness and delicacy of the ornament give lightness and grace, while the sculpture blends and crowns the deep pervading symbolism of the Court.

-Maud Wotring Raymond

Court of Ages The Fountain of Earth

While it is possible to find keen enjoyment in the Court of Ages for its delicate beauty and exquisite refinement alone, even the slightest study of its architectural and sculptural detail reveals a depth of underlying purpose and meaning that invites further analysis. The architect calls it “an historical expression of the successive ages of the world’s growth.” He suggests four stages: the nebulous world, symbolized by the central fountain, in which Robert Aitken of San Francisco has worked out a stupendous study of primeval passions. Out of chaos, come the elemental forces, Water, Land and Light. The braziers and cauldrons symbolize Fire. The two sentinel columns, flanking the tower on either side, are Earth and Air. The eight paintings, by Frank Brangwyn of London, in the corridors in great richness of color depict Earth, Air, Fire and Water. Thus the first state is indicated.

The second stage is symbolized by the decorative motifs employed on the arcade surrounding the court, where on piers, arches, reeds and columns, in marvelously wrought sculptural ornament, is shown the transition from plant to animal life through kelp, crab, lobster and other sea animals and shell motifs.

—M. W. R.

Court of Ages The Garden of Hyacinths

Following the symbolism of the Court of Ages through the first nebulous period of the world’s growth, through the second, which shows the transition in successive forms of sea-plant life, the third period is reached where are illustrated the earliest forms of human, animal, reptile and bird life prevailing in the stone age. This age is indicated, in the court, by the prehistoric figure surmounting the piers of the arcade and by the first sculptured group over the entrance to the tower. The repeated arcade figures, which were designed by Albert Weinert, represent alternately Primitive Man and Primitive Woman.

The perfection of the landscape planting and the skill with which it subtly accentuates the meaning of architecture and sculpture are worthy of study. In the background, close against the piers of the arcade, tall, slender Italian cypresses emphasize their rhythmic length of line. Amid a growth of tropical luxuriance stand glossy-leafed orange trees laden with fragrant blossoms and golden fruit. Balled acacias in formal rows outline the paths, while a succession of plantings has given a varying color scheme and a new perfume to each season.

—M. W. R.

Court of Ages A Glimpse From the Colonnade

The Court of Ages is the only one of the Exposition courts which is entirely independent of outside influences. The other courts derive breadth of appeal from the fine vistas through arched gateways or along dignified colonnades. The Court of Ages is shut in upon itself by the arcaded and vaulted ambulatory which extends continuously around its four sides, and by this cloistered effect, its individual impression is deepened and intensified.

Through the lovely rounded arches of this encircling colonnade, which is elevated a few feet, one looks down into the beauty of the court, or out across it to the richly fretted walls. In the curve of each arch, hang two delicately modeled lanterns.

—M. W. R.

Court of Ages A Vista in the Colonnade

The cloistered effect of the long colonnade surrounding the four sides of the Court of the Ages is deepened by the vaulted ceiling, which, in its Roman simplicity of line, contrasts effectively with the filigreed exterior of the arcade.

The only color in the court, aside from a slight use in the tower and the massed luxuriance of flowers, is found in the corridors where, between the square pilasters, the prevailing old ivory is stained pink of a deeper tone than in the other courts. The ivory pilasters are carried up into the ceiling in curving, transverse arches, while the band of blue, following their edges, leads to the rich blue depths between them. At the far end of every vista glows the riot of color in the mural paintings by Frank Brangwyn. The play of sunlight through the succession of rounded arches increases the sense of bright charm.

—M. W. R.

Court of Ages The Tower Through North Aisle

In the North Court of Ages, leading to the Esplanade, the tower is identical with the main court, and the entire architectural treatment, while simpler, is in the same spirit. Robbed of the complex symbolism by which, in the larger court, the evolution of the lower forms of life is depicted, the higher spiritual lesson is here intensified. The sculptured groups in the tower, by Chester A. Beach of San Francisco, represent the rise of humanity through successive ages of civilization. The conventionalized lily petals decorating the summit of the tower suggest the highest forms of plant life. The delicate lace-like finials, rising from the highest points of court and tower alike, express aspiration. The chanticleers on the finials surrounding the court symbolize the dawn of Christianity.

The star-like clusters of lights, raised aloft, two in the main court and four in the north court, deepen the ecclesiastical atmosphere by suggesting the golden monstrance emblematic of the rays of the sun and of the radiating presence of God, and used in the Catholic Church as a receptacle for the sacred host.

—M. W. R.

Florentine Court Palace of Transportation

The Florentine Court and the Venetian Court lie east and west respectively of the Court of the Universe. They are sometimes called the Aisles of the Rising and the Setting Sun. While in reality only connecting avenues, the wealth or careful detail lavished upon them makes of them charming interludes between the larger and more imposing courts, and yet so skillfully do they conform to the general plan that they blend one larger court with another, without expressing a distinct individuality of their own. They were planned by W. B. Faville of San Francisco. While identical in design upon three sides, their adaptation upon the fourth side to the courts which they adjoin, east and west, and the variety in landscape effects, insure against exact duplication.

The Florentine Court lies between the Court of Ages and the Court of the Universe, with the Palace of Transportation bounding it on the north and the Palace of Manufactures on the south. Its eastern wall repeats the rich decorative treatment of the Court of Ages, which it joins.

Court of the Universe Through Three Great Arches

When one stands in the Court of the Four Seasons, facing east, two splendid arches are seen framed by the Eastern Gateway of the Court. The first, across the Venetian Court, is the Arch of the Setting Sun, surmounted by its symbolic group of the Nations of the West. Across the vast Court of the Universe, beyond the Fountains of the Rising and the Setting Sun, is the triumphal Arch of the Rising Sun surmounted by its symbolic group of the Nations of the East.

These magnificent modern expressions of the arches erected by the old Romans to commemorate their triumphs were designed by McKim, Mead and White, the architects of the Court of the Universe, and are richly adorned with sculpture designed by various artists. In the attics are carved appropriate inscriptions selected by Porter Garnett, which will be found on succeeding pages.

There is an atmosphere of bigness about the Court of the Universe, created not only by the architectural features, but by the symbolism of the final meeting of the Nations of the World, made possible by the completion of the Panama Canal.

Court of the Universe Triumphal Arch, The Setting Sun

The magnificent mass of the Western Arch is heightened at night by the effective illumination. Shafts of white light from concealed projectors pick out, the sculptured group that surmounts it. The bulk of the arch catches only the rays from minor lamps within the court and upon this shadowy pedestal, the group of the Nations of the West stands out in strong relief. Below, the ceilings of the arch and corridors are brilliant from concealed lights placed within them.

Court of the Universe Triumphal Arch, The Rising Sun

The triumphal arches which by night gain in majesty and mysterious power, by day have the added beauty of the color manipulation and decorative treatment, which is exceedingly rich and varied.

The twisted columns of Sienna marble which flank the arch, two on either side, are composite, mingling Corinthian and Ionic elements. Each column is crowned with a sculptured figure, representing the “Angel of Peace” by Leo Lentelli. Between the columns, set in a square of deep pink, is a burnt orange medallion, the figures in relief, suggesting Nature and Art, being designed by A. Stirling Calder and B. Bufano.

On either side of the curve of the arch, latticed windows in green give a Moorish touch. The figures in the spandrels,