The Jewel City

t's Great Palaces an

and Ma

issance portals of Manufactures and Liberal Arts, and of the Courts of Flowers and Palms-The Roman west wall-Ornate doorway of north facade Interior courts and aisles-A balanced plan- This the first exposition to adopt the

architecture is purposely eclectic, cosmopolitan. Under a dominating Moorish-Spanish general form, the single architect of the group, W. B. Faville, of San Francisco, drawing upon the famous styles of many lands and schools, has combined into an ordered and vastly impressive whole not only the s

ean,-not all Byzantine, or Roman, or Italian, or Spanish, or Moorish, but some thing of each. The manner in which these forms are carried over from one palace to another, and the almost constant recurrence of some of them, like the Moorish domes at the corners, blends them without jar or break. The great wall, almost b

reat blank spaces of the "Walled City" recall the severer side of Mediterranean architecture, just as their gorgeously ornate portals, towers and domes speak of its warmth and color. They are an architectural feature that has traveled far. The unbroken rampart, born of the need of defense in immemorial cities on the east and south shores of the Mediterranean, was carried thence by the Moors to Spain, to go in turn with the conquerors of the New World, and became a characteristic o

all, is wondrously beautiful. The wall is seventy feet high, topped with a red-tiled roof. The pale green domes over the centers of the palaces are Byzantine, a style much used in the mosques of Islam. The gables are each crowned with a figure of Victory, sometimes called an "acroterium," from the architectural name of the

to the Hospice of Santa Cruz at Toledo. (pp. 18, 37.) Except for the sculpture, in which the Spanish saints have been replaced by figures of industry, the portal is a copy of the o

al figure is Agriculture, the basic food-supplying industry. On one side is the Builder, on the other the Common Workman. Beyond t

opy is an old man handing his burden to a younger one, the Old World passing its

cture brought into Spain by the Moors. Indeed, there is something Moorish about the whole work, except that the Mohammedans do not represent living things in art. A passage in the Koran tells devout followers of the prophet that if they sho

and hold the seal of the State. Such buttresses against a plain wall,

iled roofs and latticed grills, with handsome imitations of bronze work under the arches. The friezes over the arches as well as the figures in the niches are by Mahonri Young, of New York. The frieze represents industries of various kinds, the work of women as well as of men. In the niche on the left is a woman with a spi

and color of Italy. Those entering the Palaces of Liberal Arts and Education from the Court of Palms are identical in design, and seem almost perfect in their harmonious lines and warm color. (p. 88.) The other pa

of Knowledge; on the left, the mother instructs her children; on the right, the young man, his school days past, is working out for himself a problem of science. Thus the group pictures the various stages of education, from its beginning at home to that training in the school of life which ends only at death. The cartouche just above

cher, a woman at the left, a man at the right. The man looks toward the w

haracteristic features are the Roman half-domes above the entrances, and the sculptures repeated in the niches of the walls. (p. 119.) On t

r hands books with the motto "Ex Libris," though the preposition is omitted, represents the store of knowledge in books. The similar array of men bearing wreaths of cereals in the half-dome o

he emblems are from the dim past, and can be understood only with the help of an archaeological encyclopaedia. In the first are the bull standard and t

, in fact, called "plateresque," from its resemblance to the work of silversmiths. The figures looking out on the blue water that reaches to Panama and the shores of Peru, are historical. In the center is the Conquistador. Flanking hi

figures that suggests the old quip about the pig in the alley. The sculptor has at least given to the figures a curious effect of bandy legs. The feet are set wide apart, the space between and behind the legs is deeply hollowed out, and the rope which hangs from the hands curves in ov

the Machinery Palace opposite. The portals suggest those of ancient Italian city walls. In the ni

sh architecture of the south facade of Education is here carried over to Food Products. Similarly, the avenue between Mines and Varied Industries is the same on both sides, carrying out the Old Italian of the east front, and with The Miner repeated in the portal niches of both palaces. The avenues leading from the Court of th

balance has been carefully thought out everywhere, and affords a fine example of the co-operation of the many architects who worked out the vast general design. The Courts of Seasons and Ages are set off against each other; the Courts of Palms and Flowers weigh equ

ster colorist, was the artist who used the Exposition as a canvas on which to spread glorious hues. Guerin decided, first, that the basic material of the buildings should be an imitation of the travertine of ancient Roman palaces. On this delicate old ivo

f light, draw their hues from Guerin's plan. The flowers of the garden conform to it, the statuary is tinted in accordance with it, and even the painters whose mural pictures adorn the courts and arches and the Fine Arts Rotunda were obliged to use his color series. The res

ng in the sun, and the not less deep, but more ethereal, blue of the California sky. With this are the browns and greens of the hills beyond the bay, and, nearer at hand, the vivid verdure of lawns and trees and shrubs. All these the designer used as though they were colors from his own palette. To go with the

imagination to realize the possibilities of the scene, and visualize it. It required infinite delicacy and a fine sense

ty, he decreed that not more than eight or nine colors should be found upon the subdued palette from which he would paint the Exposition. Then he took into consideration the climate and atmospheric condition

ly in the strong California sunlight, but soft and restful to the eye. It harmonizes with the other colors selected,

Rome. It often contains the moulds left by leaves and other materials incorporated in the deposit. These account for the corrugations of the stone when it is cut. In California, as in other regions where hot springs are found, travertine is not uncommon. It is found notably in the volcanic district of Mono County, and elsewhere, sometimes in the form of Mexican onyx, which is only a translucent var

ine the eight other

g of great plats, where it complements the green of the gr

e six yellow ones in the Court of the Universe, are of this light green. It forms

hades at the bases of the flag poles. These first three colors, all in tones of

ighting standards only. It is a very brilliant an

s, courts and niches, on the tiled roofs, and in the statuary. These reds run from t

. The following rule was adopted in regard to the coloring of the statuary: That which is high off the ground, that is, the figures surmounting the domes and spires, is

n deep shadows, in coffers and in the background or ornamentation in which travertine rosettes are set in cerulean

similar to t

r the travertine in places

pper-green and a soft gray, and therefore not to be counted as one of the nine ca

r than cerulean blue, if he employed blue at all; no other red than the tone popularly known as "Pompeiian" has been admitted in the scheme. In this red the admixture of br

or successfully planned in this particular. There is no court of one color clashing with a d

hues of wall and tower, completing in harmony the effect of the whole. The pinkish sand spread on the paths and avenues to harmonize with other ground colors was not always tinted. Some one had noticed that the white beach sand at Santa Cruz turned pink when heated. Seizing upon this fact, McLaren and Gueri