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An Art Lovers guide to the Exposition

S >> Shelden Cheney >> An Art Lovers guide to the Exposition




The Fountain of Youth consists of a central figure on a pedestal, and
two rounded side panels with figures in relief. Youth is symbolized as a
girl, an immature figure, beautifully modeled. She stands, perfectly
poised, among rising blossoms. On the pedestal are more flowers in
relief, and two dimly indicated half-figures of a man and woman may be
discovered. The side panels show old people being drawn away in ships
manned by cherubs-old people who gaze back wistfully at the Youth they
are leaving. Really the fountain is far more charming if one forgets all
but the central figure. There is in that a sweet tenderness, a maidenly
loveliness, that makes it the perfect embodiment of Youth-an
embodiment to be remembered with delight again and again.

The fountain was designed by Edith Woodman Burroughs.

The Fountain of El Dorado is on the other side of the archway, and is by
Gertrude Vanderbilt Whitney. It represents, as a whole, mankind's
pursuit of the unattainable. The legend of El Dorado is that there once
lived in South America a prince, "The Gilded One," who had so much gold
that daily he had his body covered with gold dust. Many Spanish
explorers spent fruitless years in search of the fabulously rich country
of this prince. The idea of the fountain is that the Gilded One,
representing the unattainable, the advantages of wealth and power which
deluded men and women seek without value given to the world in return,
has just disappeared through the gateway, the gates closing after him.
On either side processions of seekers who have glimpsed the Gilded One,
strain toward the gateway. Some loiter in love or play, some drop from
fatigue, some fight their way along; and the first two, finding that the
pursuit is fruitless after all, have dropped to their knees in anguish.
The two standing figures beside the gates are said by the sculptor to
have no significance beyond the fact that they are "just guardians."

The fountain is notable for its symbolism and for the modeling of the
many nude figures. The panel on the right is especially decorative, and
has some notably fine individual figures and groups. The spirit of the
fountain, with its realism and its note of hopelessness, is not in
keeping with that pervading most of the Exposition sculpture. After
looking at the work for a time, turn and look back through the two
archways at the central figure of Youth at the other side. Certainly no
figure in the Fountain of El Dorado has the appeal and charm of that.

Mural Paintings

On the walls of the archway under the Tower of Jewels are eight
paintings celebrating the building of the Canal. All are by William de
Leftwich Dodge.

On the west wall the first panel is called Discovery. It portrays the
discovery of the Pacific Ocean by Balboa.

The second panel is called Atlantic and Pacific. A huge figure of Labor,
having brought together the oceans, is opening a waterway from West to
East. On the left an ox-drawn prairie schooner has arrived at the shore,
with types of Western civilization. On the opposite shore types of the
nations of the East, in a colorful group, are straining forward to meet
the West.

The third panel is entitled The Purchase. A figure representing the
United States is taking over the canal project from France. The French
laborers are throwing down their tools, and Americans press forward to
take them up.

In the group on the opposite wall the first panel is called Labor
Crowned. Victorious Labor is being crowned by the angel of Success,
while soldier and workers come to pay homage.

The second panel is entitled The Gateway of All Nations. Figures
symbolizing Progress call the world to pass through the Canal. Neptune
holds garlands by which he draws ships of the various nations toward the
waterway. Two laborers rest on their machines and watch the procession
which they have made possible.

The last panel is called Achievement. A woman with the symbols of
knowledge, or wisdom, sits enthroned, while about her are grouped
figures representing the forces instrumental in building the Canal. At
the left are laborers; at the right figures typifying Engineering,
Medical Science (with the Caduceus, the wand of Mercury, god of
medicine), and Commerce or Munificence.

These mural paintings are among the most interesting and most
imaginative of all those at the Exposition. Some of the groups are
particularly fine in coloring. Note the method of obtaining the right
effect of "flatness" by employing a conventional diaper pattern for the
background throughout. The panels here are much more effective under
full illumination at night than by daylight.

The Fountain of Energy

The Fountain of Energy in the South Gardens was designed to be the
crowning feature of the sculpture of the Exposition, just as the Tower
of Jewels was designed to dominate the architectural scheme; and it
fails of its high purpose in much the same way. It is closely allied
with the tower in symbolic meaning, celebrating man's victory over the
forces of nature in the successful building of the canal.

In the pool at the base of the fountain are a number of graceful groups
of water sprites on dolphins, and four larger groups representing the
four great seas. The one to the east of the main fountain represents The
Atlantic Ocean as a woman with sea-horses in one hand and coral like
hair, on the back of a conventionalized dolphin. At the north The North
Sea is represented by a sort of sea-man, with occasional fins and with a
three-pronged spear in hand, riding on a walrus. At the west The Pacific
Ocean is typified by a woman on a remarkable sea monster. And on the
south a sea-man with negro-like features, and with an octopus in one
hand, rides on a sea-elephant, representing The South Seas.

The main pedestal of the statue is a globe, representing the earth. This
is supported by a series of figures of mermaids and mermen. The Eastern
and Western Hemispheres are represented by figures reclining on the
globe, the one to the east a cat-headed woman, the one to the west a
bullheaded man. The band, decorated with aquatic figures, which
encircles the globe, suggests the final completion of a waterway about
the earth.

Energy, the Victor, the surmounting group, typifies the indomitable
spirit that has achieved the building of the Canal. The nude figure of
Energy with arms outstretched rides a horse through the waves, while on
his shoulders stand smaller figures of Valor (with a wreath) and Fame
(with a sword) heralding the triumph. These small figures are
unfortunate they hardly belong, and instinctively one is worried for
their equilibrium.

The whole fountain is instinct with energy, and expresses joyous
achievement, as was meant. Moreover it is remarkable in its breadth of
conception, in imaginative interpretation of the theme. But it lacks
that sense of repose which would make it intimately satisfying.

The fountain was designed by A. Stirling Calder.



Palaces Facing the Avenue of Palms



The adoption of the "walled-city" plan for the Exposition meant the
grouping of the more imposing architectural effects in the interior
courts, the outer facades simply forming parts of a practically
continuous wall about the whole. Inspired by Spanish architecture of the
Renaissance, the intention was to keep the wall spaces in general quite
bare, concentrating the decorative effects in rich "spots" at carefully
chosen intervals. Thus the outer facades of the central group of palaces
combine a simple general form with a series of richly ornamental
portals. The architect who as entrusted with the designing of the wall
and all the portals was W. B. Faville of Bliss and Faville.

Certain architectural and sculptural units are repeated throughout the
central group. Each building has a low central dome, seldom seen when
one is close to any of the main buildings, but adding greatly to the
decorative effect from a slight distance. These domes are of Byzantine
style, and are colored in harmonizing shades of green and pink. The
small repeated corner domes add another Eastern touch, and are
especially effective at night. The outer wall is edged all the way
around with a simple cornice and a few rows of dull red tiles,
distinctly Southern in feeling, and therefore harmonizing with both the
Spanish and the Italian Renaissance doorways.

The Winged Victory is the fine decorative figure that crowns the gables
of all the palaces of the walled-city. It is broadly modelled, massive
and yet refined, and from any viewpoint stands out in beautiful
silhouette against the sky. It is by Louis Ulrich.

Palace of Varied Industries

Before turning to the more important south facade, it is well to look at
the east wall, with its dignified and colorful portal. This is Roman in
style of architecture, to harmonize with the Palace of Machinery
opposite. It is similar in general form to the memorial arches and
gateways of the Romans, but in the use of architectural motives and in
decoration it is of Italian Renaissance style. The niches at each end of
the gallery contain figures of The Miner, by Albert Weinert. The facade
is ornamented with buttresses at regular intervals, carrying figures of
the California Bear holding a scutcheon with the state seal.

Returning to the Avenue of Palms and the south facade, one sees the most
important artistic feature of the building, the central portal. This is
a copy, except for the figures filling the niches, of the famous doorway
of the Hospital of Santa Cruz at Toledo, Spain. It is in Spanish
Renaissance style, of that especially rich type known as "Plateresque,"
due to its likeness to the work of the silversmiths of the time. For its
grace of composition, its exquisite detail, its total effect of richness
and depth, this portal is worthy of long study.

The sculpture of the portal is all by Ralph Stackpole. In the lower
niches are replicas of "The Man with a Pick," a figure that has been
justly admired as a sincere portrayal of a simple laboring type. The
relief panel in the tympanum represents various types of industry. From
left to right the figures typify Spinning, Building, and Agriculture (or
the clothing, sheltering and feeding of mankind), and Manual Labor, and
Commerce. The group in the niche above the arch shows a young laborer
taking the load from the shoulders of an old man. The single figure at
the top of the arch shows the laborer thinking, and is called "Power."
Note how all these sculptures, while having individual interest, fit
unobtrusively into the lace-like portal.

Palace of Manufactures

The wall of this building is broken by pilasters and inset decorative
panels, and by a series of niches with animal head fountains. The
central portal is pure Renaissance architecture, again suggestive of the
Roman gateway in form.

The sculptures of the doorway, including the two figures of male and
female labor in the niches, and the long high-relief panel, are by
Mahonri Young, who is noted for his simple, powerful treatment of modern
themes. The panel represents various branches of manufacture, including
metal work, blacksmithing, pottery-making, spinning, and architectural
sculpture.

Palace of Liberal Arts

The facade here exactly duplicates that just described, even to the
niche figures and panel in the portal.

Palace of Education

The Palace of Education has three Renaissance portals on the south
facade. These are more Spanish in feeling than those of the two palaces
just passed. The tympanum panel of the central doorway may be taken to
represent kindergarten teaching, instruction of boys and girls, and
self-education in young manhood. It is by Gustave Gerlach. The two
panels in the walls over the minor doorways treat very obviously of
educational subjects. They are flat in more senses than one, lacking the
life of the central tympanum group. They are by students of two American
art schools.

The west facade of the Palace of Education is dominated by an immense
half-dome, impressive in size and attractively decorated. The style of
architecture here is mainly Roman, to harmonize with the Fine Arts
Palace which it faces across the lagoon. There are two splendid
architectural fountains, under the half-dome here and under, that of the
Palace of Food Products.

Sculpture. Flanking the great arch are columns carrying the nude figure
of a man, with hands crossed, gazing fixedly in thought. In the official
list this is called "Philosophy" or "Thought," and from it the immense
portal is called "The Half-dome of Philosophy." But the same figure
occupies the corresponding position before the Food Products Palace, and
is there called "Physical Vigor." The truth is that the artist designed
the statue to suggest that finest of all unions of strength, the
physically powerful man thinking. Thus the figure is appropriate to both
a food products building and an education building. The figure is
strong, but is not so convincing or appealing as the same artist's "Man
with a Pick," in the Varied Industries portal. Within the half-dome is a
repeated figure with a scroll inscribed "Libris," by Albert Weinert.

The six niches in the west wall have two repeated statues by Charles R.
Harley, known as "The Triumph of the Field" and "Abundance." They are
simply repeated from the Food Products Palace to the north, where they
properly belong, and will be treated in the next chapter in connection
with that building.

On the north facade of the Palace of Education are duplicates of the
three south portals, with the same sculptured panels.



Palaces Facing the Marina, and the Column of Progress



The walled-city idea, which throws most of the fine architecture into
interior courts, is even more severely carried out in the north facades
than in the south. The palaces on the Marina, indeed, present a wall
unbroken except by the central doorways and the slight corner
projections. The small domes at the corners give a Moorish touch,
reminiscent of Southern Spain, and the portals are direct adaptations
from Spanish masterpieces.

Palace of Mines

The north facade of the Palace of Mines is free from all ornament except
the richly decorative central portal. This is worthy of prolonged study,
being one of the finest bits of architectural ornament at the
Exposition. It is designed very closely after Spanish models, and is of
that transitional period of Spanish architecture that came between the
Gothic and the Renaissance, when Gothic had been enriched through the
influence of Moorish art, and was just beginning to feel the impulse of
the Italian Renaissance. Note how rich is every part of the detail; then
note how all detail is subordinated to the mass effect of the whole.

The statues in the niches of the portal are by Allen Newman. The central
mantled figure is called the "Conquistador," or conqueror. The artist
has here portrayed in spirited fashion a fine type of Spanish nobility.
The figure in the side niches, with an old-style pistol in his belt and
a rope in his hand, is "The Pirate."

The east facade of the Palace of Mines duplicates that of the Varied
Industries Palace, and the west facade forms one side of the north Court
of Abundance.

Palace of Transportation

Here the one notably artistic feature is the central portal on the north
side, which is an exact replica of the Spanish doorway of the Palace of
Mines.

The Column of Progress

This monument symbolizes the energy, the unconquerable spirit that is
forever pressing forward to overcome new obstacles, which has led to the
building of the Canal. The idea of such a monument was conceived by A.
Stirling Calder, the architectural design is from the hand of W. Symmes
Richardson, the reliefs at the base are by Isidore Konti, and the
crowning statue is by Hermon A. MacNeil. The Column of Progress as a
whole is among the finest artistic achievements of the Exposition, and
more than any other, perhaps, is worthy of perpetuation in permanent
materials to commemorate for all time the opening of the Panama Canal
and the holding of the Exposition.

Reliefs at base. The high relief frieze on the square base of the column
represents mankind heeding the call to achievement. On the south face
are allegoric figures calling mankind to the struggle, the two women
holding palm branches, the insignia of victory. On the other three faces
are shown groups of figures striving forward at the call, pressing on to
achievement, some joyously, some laboriously, some stopped altogether in
thought. The whole frieze suggests the beginning of progress.

In the spiral that winds about the column certain interpreters have
found a symbol of the upward march of human achievement; but as this
spiral decoration is found on the Column of Trajan and the Column of
Marcus Aurelius, the Roman prototypes of the Column of Progress, there
probably is no special significance in its use here.

Supporting the crowning group is a drum with crouching figures of
toilers in relief, entitled "The Burden Bearers."

The Adventurous Bowman is the title of the surmounting statue. The
heroic Bowman, facing the skies and the seas, and launching his arrow
into the unknown, is the symbol of the impulse that leads men to dare
all to achieve victory. At the left of the central figure is a man of
smaller stature, leaning against the Bowman to give him support. On the
other side a woman crouches, looking up as the arrow speeds on its way.
The ring-like object in the woman's hand, which is so hard to identify
when one views the group from the ground, is a wreath.

There is about the Bowman a remarkable sense of movement, of energy, of
pressing forward, no matter what the view point of the spectator. The
monument should be seen from as far north as possible, near the corner
of the California building, perhaps. From here, from the Esplanade as
one approaches from either east or west, and from the Court of the
Universe at the rear, the group has the same inspirational quality, the
same sense of joyous effort, of courageous striving toward achievement.
The placing of the monument where it closes three important vistas is
commended for study to those who have in charge the artistic destinies
of our cities.

Palace of Agriculture

The north facade of the Palace of Agriculture is bare except for the
central portal, which again duplicates that of the Palace of Mines.

Palace of Food Products

The north facade of this palace duplicates that of the Palace of
Agriculture. But when one turns the west corner into Administration
Avenue, one finds an entirely different atmosphere, where the Spanish
architecture has given way to Italian. The dominating feature of the
building's west facade is an immense half-dome, officially called "The
Half-dome of Physical Vigor." This is an exact replica of the "Half-dome
of Philosophy" on the Education Palace.

Sculpture. Before the half-dome here, on columns, are replicas of Ralph
Stackpole's statue of the physically vigorous man in thought. Inside the
half-dome is a repeated figure of a man with a wreath, by Earl Cummings.

In the niches along the walls are two alternating compositions,
"Abundance" and "The Triumph of the Field," by Charles R. Harley.
Abundance is typified by a seated woman, with the conventional
overflowing cornucopias beside her, as well as a conglomeration of
details suggestive of the riches of land and sea. This group certainly
belongs to the Food Products building, but it really ought to be inside,
with the flowers made of butter and the tower of raisins. The Triumph of
the Field shows a man seated, and around him a museum of ancient symbols
of agriculture, and of agricultural triumph, such as were once carried
in the annual harvest festivals. These two groups are among the most
amusing things at the Exposition; but artistically they can hardly be
said to count at all.



The Palace of Machinery



The Palace of Machinery, largest of all the structures at the
Exposition, terminates the main building axis at the East. It is
monumental in proportions, and is well suited to its purpose of housing
an immense display of machines.

Architecture

The architecture was evidently inspired by the great baths of ancient
Rome, which were similar in style, size, and detail. The scale is so
great-this is said to be the largest wooden building in the world-
that it is something of an achievement to have made the structure
anything but barn like. By the richness of the cornices and the careful
spacing of the openings the architect has made it ornamental, and has
given it a sort of noble dignity-though one hesitates to compare it
with the palaces of the central group.

The most interesting architectural bit in connection with the Palace of
Machinery is the entrance vestibule under the three central archways.
Standing at either end of the portico one obtains a remarkable
impression of spaciousness combined with decorative completeness. The
coloring within the high vestibule is particularly pleasing.

Within the building the unconcealed trussing, instead of giving a sense
of barrenness and lack of finish, resolves itself into a sort of
lace-like decorative scheme, the whole effect being peculiarly
ornamental.

The Palace of Machinery was designed by Clarence R. Ward.

Sculpture

The sculpture here consists of the series of four nude male figures on
the column drums, and spandrels for the main and minor doorways, and a
widely different group, "The Genius of Creation," before the main
western portal. All but the latter group represent "Types of Power."

The figures surmounting columns, flanking the three arches of the
central doorway, represent "Steam Power," "Invention," "Electricity,"
and "Imagination."

Steam is symbolized as a man holding a long lever.

Invention is represented as a man holding forth a miniature winged
figure at which he gazes steadily.

The figure of Electricity holds jagged lightning, conventional symbol of
electricity.

Imagination, primal power back of all machinery design, is represented
by a figure with arm thrown back of head, and seemingly with eyes
closed.

Considered simply as portrayals of power, these four virile figures are
very successful, and they serve well to carry out the sense of immensity
and strength that characterizes the entire building. But they are not at
all polished or subtle, lacking the refinement that would make them
interesting as something besides vigorous types. All four figures are by
Haig Patigian. They are repeated in different order on columns before
the north and south portals of the building.

The bas-relief friezes about the bases of the vestibule columns are also
by Haig Patigian. The winged figure, typifying "Machinery," lends itself
to decorative uses better than the purely human type, and the artist has
worked in various mechanical symbols quite cleverly. The cardinal
principle in sculptural decoration of this sort is that the frieze, like
the whole column, must carry an impression of support. It will be
noticed that no room has been left above the head or below the feet; and
the disposition of the wings and arms further adds to the feeling that
the figures are a true structural unit rather than mere ornament stuck
on.

The spandrels over the minor arches in the vestibule, again typifying
"Machinery," are equally successful in serving an architectural purpose.
Mural sculpture, like mural painting, must never be allowed to "make a
hole" in the wall. Notice how fully the figures cover the given space,
without any background to draw the eye beyond the surface. These
spandrels are also by Haig Patigian. The column reliefs and the
spandrels are repeated at the minor doorways of the building.

The Genius of Creation, a magnificently conceived group of sculpture,
has been placed, rather unfortunately, in front of the main west portal
of the Palace of Machinery. It is by Daniel Chester French, who is
generally considered the dean of American sculptors. The Genius of
Creation is portrayed as a huge winged figure, enthroned over the
formless mass of earth, with head bowed and arms outstretched, calling
human life into being. At the two sides a man and a woman, fine strong
figures both, stand looking forth, the man courageously, the woman a
little more timidly. And at the back, as if to signify the mutual
dependence of man and woman, the hands seek to touch. A serpent
encircles the base of the group, symbolizing wisdom-or as some prefer
to interpret it, everlasting life. This serpent is probably not the one
that had so much to do with the life of the first couple on earth.

The statue expresses, of course, the orthodox idea of creation, and it
is interesting to contrast it with the sculpture of the Court of
Abundance, which in general gives expression to the doctrine of
evolution. The strong, almost severe, motherly figure is finely
religious in feeling. The sculptor himself has commented on the
religious tone that runs through much of the Exposition sculpture,
remarking especially the prevalence of winged angel-figures. The reader
is left to decide how far this has resulted from the fact that the
winged form is essentially decorative, and how far from reverence.

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