The Washington herald., 1915-10-06
The San Francisco Exposition.
by JOHN d. BARRY.

Palace of Varied Industries 1t is adaoted from
the main portal OF the Santa Cruz Hospital in To-
| lcdo, Spain. The group in the haf-crce above
the doorway types of the varied industries is one
of the most beautiful pieces of sculpture on tho
grounds Like all the American figures introduced
here, Age Transferring His Burden to Youth" on
| Ralph Stackpolc, who did the kneeling figure in
the rotunda of the Palace of Fine Arts and the
| figure representing Thought" Stackpoe, who
is in the early thirties, destined to win rec
oCnition as one OF the most accomplished and
| spiritual of American sculptors.
1t fitting that this magnificent doorway
should be placed near the spot where the crowds
pour in from the Fillmore street entrance the most
favored OF all the entrances on account OF its
convent cnce. and that the display of banners
| should be SO profuse here, giving what the arch-
! teets call the eXpoSItlonal note The view down
the Avenue of Progress toward the Marina is re-
lmarkably fine In the treatment of the southeast
ern walls Faville shows his characteristic orig
!nality. He uses the California bear with great
To the right stands the largest OF all the build
ings the ground, the Palace OF Machinery.
Clarence X. Ward the architect OF San Fran
cisco, made the building express its character. He
gave IT just ornamentation enough to keep from
being bare. The gables that he uses have caused
the structure to be compared with the Baths OF
Caracalla, in Rome, which they resemble. The
figures on the great columns in front bv Haig
Patigian, OF San Francisco, have been criticised
on account OF their nudity. They represent the
force that goes with the modern invention. The
| sculptor has been more successful in the scup-
turcd work that ornaments the interior OF the
vcstibule and the rclicis at the base of the COL
umns all gloriyng the spirit OF machinery The
interior OF the palace is impressive account OF
| the splCndor OF the spaces When Ward was
once ask kcd If it were necessary to have the build
ing high. he replied that it not; he had
made it high simply for the sake OF aesthetic
effect
In the interior OF the Palace of Machinery
the supports left bare. Instead of being ugly,
they interesting and picturesque.
The inner court that from the Palace
OF Machinery. forming a part OF the main axis,
of construction Pink Alley" Here Guerin has a
riot OF color. In ways this spot is as. lovely
any part of the exposition. 1t serves APP
proach to the most original OF all the courts. the
! Court OF the Ages. often called the Court OF
Abundance, by Louis Christian Mullgardt. OF San
Francisco. When architectural experts come here
they feel puzzled In vain they look for reproduc-
tions and adaptations from tho past. They dis
cover that, after ALL architecture is necessarily
initiative and that it can still break into
presSIons.
Mulgardt evidently worked first for beauty. II
is only after study OF the court in detail that
the meaning dawnS Those arches,
peated along the promenade that encloscS the
court, graceful in outline. like all the designs,
worked out through motives that suggest life.
There also suggestions OF falling water The
figures by Weincrt. quan, and characteristic, that
stand i'll row along the top OF the enclosure
typfy primitive and woman. Through the
sculpturcd groups by Chester Beach. formerly OF
San Francisco and OF New York, suggesting
THE Rise OF Civilization" the altar brings
to mind the ascent of from the stone age
when he close to the reptiles and the pre-
historic animals, hardly more than animal him
self, with his family about him. OF his fcl-
low creatures in the mire, to the more spiritual
sader with the priest his side and with a spirit
ual ideal in his mind and heart. Higher still
stands the figure OF the woman, typifying intel-
gence. The lovely design top, when studied in
detail is q 4 q lily petals
AT either side OF the central group the tower
are figures by Beach, representing the struggle of
expressions OF life. On the east and west sides
of the tower stands the nude figure of a man, type
of civilization, generally called Thought"
The two shaft: , in front 9 T the tower arc knSwn now
show great cevcrncsS on the part OF the sculptor,
Lentclli. They originally intended to be 4
feature OF cascade that was to cncrcc the door
way. covered with water plants, the water to
tricklc their leaves.
Do YOU happen to know Iangdon Smiths
poem "Ivouton, beginning with the words.
you do, you will recognize the resemblance be-
tween the spirit OF the poem and the spirit OF this
architectural conception. Mulgardt has put big
thought into his work here and he has given it
very remarkable artistic expression.
I 1.-The Fountain OF the Earth, which stands in
the center of the court, approached by the incline
leading from the colonnadc is characteristic of
Robert Aitkcn who did those Michael Angelo fig
dramatic. and deliberately >ymbolistic. But it is
too heavy for this graceful and airy court which
really seems Its drab coloring, too is
not quite in harmony with the surroundings that
keep close to tho quality OF the Travernc, in
the treatment of the coonnade and the highest
niche in the altar tower. daringly colored by
Guerin, rich blue and rcd. The symbostic de-
tail in the fountain is too involved. Yet the work
as whole has a kind of splcndor.
In that colonnadc the eight murals by
Frank Brangwyn of London-"Earth" Air, "
! Fire" and Water" two for each subject OF all
the muralS the grounds, they the most strik-
ing the most brilliant and the most interesting.
Each has remarkable qualities in design and COL
oring and Characterization. Brangwyn paints with
great virtv He likes theatrical effects. 1t has
been said OF him that he would make great stage
manager. Like Gucrn, he is familiar with the
Orient and he has been capvated by the Oriental
use of color.
At night the Court OF the Ages in most impress
! sive, with the lights blazing and the great cauld-
rons surrounding the Fountain OF the Earth steam
ing and the torches aflame in front of the altar
tower, symbozing civilization Then one catches
a suggestion Of the time when tho earth was
thrown off by the and left steaming and cool
ing before the coming of man.
The great lighting standards, so conspicuous
here, were designed from the snow-crystal and
were intended to represent clusters of stars. Any
one familiar with the ceremonial in the Catholic
church cannot fail to be struck by their resem-
L ~ ~,