Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-06-11

Later the idea developed into three cas-
cades. in order that the water should be
cade as the Fountain Of Liberty. with the
side ones representing the Atlantic and
Pacihc oceans. and the two gilded statues
the Spirit of the Atlantic and the Spirit OF
the Pacifc-the striking bits OF gilded color
on cream and white Festival Hall.
BY more modest but equally important
articles the water was brought up to the
front all along the line. Generally, a bal
ustrade runs around artificial lagoons.
There is no balustrade to look over before
you can find the water at St. Louis. Wher-
ever you are, whether on Festival Hill.
looking over the delicately tinted roofs OF
the main buildings to the snow-clad simula-
ton of the Tyrolean Alps in the distance
on the Pike, or seated on the Plaza of st.
Louis. gazing upward at the heroic figure
surrounding the iS0-foot dome of Festival
Hail. the water Is ever before you 1t 10
cooling and refreshing presence when the
sun beats hot upon the asphalt roadways.
and causes even the eloquence OF the take
your-own- picture man to die away to a
hollow echo of itself
In this refreshing look lies one OF the
reasons of the architectural hit of the fair.
Mr.. Masqueray strove for II from the start.
There must be plenty of green about
the buildings he said. 1T may not make
things cooler but 1t will give them a cooler
look"
He Got the Green.
So he fought for green. He brought green
things up around Festival Hall and the
Colonnade. He sent them down to the
Grand Basins edge. He bordered the
lagoons with grassy slopes and trees. He
placed sunken garden here. tree-bordered
walks on the sides of the Plaza of ST Louis.
insisted upon and put green wherever he
could, and at the same time preserve the
harmony of the whole. Millions OF plants
have been placed in the main picture
twenty millions have been used in the entire
q .tf-r
spent In getting and laying sod. but it has
paid. If popular approval is reckoned as
ample reward. During the writer's stay at
the fair he must have asked at least a
hundred persons what struck them most
about the architecture. With unanmity
that was unexpected they answered, 1t
is simple and cool and refreshing
The buildings. well their settings.
carry out this idea. Building after build
ing, especially those the Plaza of st.
Louis. present facades showing inviting
colonnades stretching away seemingly 10
the waters edge. The succession of coll
umns, the shadowy spaces behind them.
suggest to the mind spots where respite
may be gained from the heat. and. uncon-
sciously, the buildings, bathed though they
are In sunlight. their GREATNESS glisten-
ing white in the strong light, actually look
cool. Thus. by the Illusion of GOODNESS, Mr..
Masqueray has woven his architectural pic
ture-water. sculpture. land. landscape ana
buildngs-into a harmonious and appealing
ensemble.
The richest OF all the roofs of the exposi-
ton Is the curved one of the liberal arts
building 1t s surmounted by crestinS
including the figure Of woman typifyirg
the liberal arts. This roof vies with gigan-
tic Corinthian entrances for the honor OF
being the buildings distinctive expression.
There are two real attractions al the falr
that set il apart from all predecessors, and
both are feasts for the eye. They are cleo
trical and architectural, the former to he
seen at night from a point of vantage on
fl,a Of 10 q
II agical splendor in late afternoon from
Festival Hill. But you should climb the
grand stairways leading up the Hill early In
the afternoon, seat yourself on a bench
along the grassy slopes. bordered with ra-
dainty Towering festoons, and look out
over the picture before you.
A Cream White City.
At first you will see nothing but cream
white buiIdings-arches. colonnddes dones,
towers and heroic sculpture being the
striking features. But presently, unco1-
scicusly one by one. the finer Details that
bind the bigger things into one harmonious
whole will creep in upon you. Especially
you will feel and know that the fair cannot
be called the cream city, as chicago was
the white city For as you sit and look.
you behold the green of trees and grass
conminsled with cream-colored Corlnthiah
CClcnnadeS. u
the rose-red of gravel walks and terraced
steps leading to the arched bridges thrown
gracefully across the sky-blue waters OF
the lagoon. You feel touches OF gilt ON the
Louisiana purchase monument, where a Few
moments before everything seemed creamy;
you behold the roofs and towers and domes
old rose. and bronze green, and find the
color of the trees and walks carried there
AS long as you look the color impression
grows upon you At last, as twilight comes
and you rise to make your way to-the Plaza
of ST. Louis to take in the electrical dis
play you know that land and water. gar
dens and buildings, flowers and trees ana
sculpture all have been grandly blending
into a magnificent ensemble that is worth
tourney half way around the world to see
and feel And the result seems all the more
wonderful when you learn that the man
who is responsible for this gorgeous archi-
tectural panorama also found time to de-
sign not only the Louisiana purchase monu-
ment, but the interior of Festival Hail. the
Agricultural the Forestry and Fishery. the
Horticultural and the Transportation build
ings to say nothing of the twelve arched
bridges that cross the lagoon. These
bridges had to be high enough to permit Of
the passage of gondolas underneath. and
still not too arched to make II difficult for
the fire engines to go over them, and at the
same time to be in complete unison with
their surroundings.