The Jewel City Part 2

Of their portals none are more beautiful than those leading from the Courts of Flowers and Palms. All four are finely expressive of the n.o.blest architecture of the Italian Renaissance. They glow with the sunshine 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 pair, opening from the Palaces of Manufactures and Varied Industries into the Court of Flowers, are cheery portals, made more domestic in feeling by the loggia between the colonnade and the tiled roof. (p. 85, 100.)

The three portals of the Palace of Education are of the Spanish Renaissance, and the Moorish towers reappear at the corners. The twisted columns of the entrances are Byzantine. The tympanum above the central portal contains Gustav Gerlach's group "Education." (p. 138.) In the center is the teacher with her pupils, seated under the Tree 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 the entrance bears the Book of Knowledge, shedding light in all directions, the curtains of darkness drawn back by the figures at the side. The hour gla.s.s below the book counsels the diligent use of time; the crown above symbolizes the reward of knowledge. The banded globe over the portal signifies that education encompa.s.ses the world.

Above each of the flanking portals is an inset panel representing the Teacher, a woman at the left, a man at the right. The man looks toward the woman, thus signifying that the world is no longer dependent on man alone.

Turning the corner, the entire west wall of the palaces becomes Roman to accord with the Roman Palace of Fine Arts across the lagoon. The characteristic features are the Roman half-domes above the entrances, and the sculptures repeated in the niches of the walls. (p. 119.) On this side, the Palaces of Education and Food Products are alike, except for a slight difference in the vestibule statuary and the fountains.

On the great Sienna columns beside the half-domes stands Ralph Stackpole's "Thought." The semicircle of female figures in the vestibule of the dome of the Palace of Education, bearing in their 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 of the Palace of Food Products signifies the source of vigor in the fruits of the soil. The simple Italian fountains in the vestibules, the work of W. B. Faville, are decorative and beautiful.

The alternated groups in the niches along the wall are "The Triumph of the Fields" and "Abundance." This is well called archaeological sculpture, for the 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 the Celtic cross, which were carried through the fields in ancient harvest festivals. In the second, the objects heaped around the lady suggest abundance.

The north facade of the palace group is an unbroken Spanish wall, blank, except for the four beautiful and identical sixteenth-century portals.

(See p. 43.) This magnificent decoration, suggestive of the finest work in rare metals, is, 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 sh.o.r.es of Peru, are historical. In the center is the Conquistador. Flanking his stately figure on each side is the pirate of the Spanish Main, the adventurer who served with but a color of lawful war under Drake, the buccaneer that followed Morgan to the sack of Panama. (p. 44.) These statues are by Allen Newman.

Every man jack of the eight pirates on the four portals is apparently bow-legged. There is a vast s.p.a.ce between the knees of these buccaneers of Panama, but when you look more closely it is hard to decide whether those pirate knees are really sprung, or whether it is the posture of the 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 s.p.a.ce between and behind the legs is deeply hollowed out, and the rope which hangs from the hands curves in over the feet to add to the illusion. There used to be a saying that cross-eyed people could not be honest. Similarly, perhaps, Newman thought the appearance of bow-legs would increase the villainy of his pirate. Certainly, no such blood-curdling ruffian has been seen out of comic opera.

The east wall of the palace group becomes Old Italian, to harmonize with the Roman architecture of the Machinery Palace opposite. The portals suggest those of ancient Italian city walls. In the niches stands Albert Weinert's "Miner," here used because the Palace of Mines forms one half the wall.

In the long avenue that runs east and west through the center of the group, the unity of the eight buildings becomes more apparent as we view the n.o.ble arches which join them, and note the character of their inner facades. Education and Food Products are alike in the walls and portals fronting on the dividing aisle. The Spanish 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 the Universe to the Court of Ages and the Court of Seasons have been variously called the Aisles of the Rising and the Setting Sun, or the Venetian and Florentine Aisles. Their four walls are in the style of the Italian Renaissance, and show a diaper design similar to that on the Italian towers of the Courts of Flowers and Palms.

In an artistic sense, this group is incomplete without the Palace of Fine Arts on the west and Machinery Hall on the east. (p. 105, 106.) Balancing each other in the general scheme, they form the necessary terminals of the axis of the Exposition plan. This matter of 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 equally one against the other; the Arches of the Nations not only balance but match; even the Tower of Jewels, which is the center of the whole plan, is offset by the Column of Progress. In the South Gardens, the Palace of Horticulture is balanced against Festival Hall.

Color and Material.--All other Expositions have been almost colorless.

This is the first to make use of the natural colors of sea and sky, of hill and tree, and to lay upon all its grounds and buildings tints that harmonize with these. Jules Guerin, the master 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 ivory background he laid a simple series of warm, yet quiet, Oriental hues, which, in their adaptation to the material of construction and to the architecture, as well as in their exquisite harmony with the natural setting, breeds a vast respect for his art.

The color scheme covers everything, from the domes of the buildings down to the sand in the driveways and the uniforms of the Exposition guards.

The walls, the flags and pennants that wave over the buildings, the shields and other emblems of heraldry that hide the sources of 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 result gives such life and beauty and individuality to this Exposition as no other ever had. It makes possible such beautiful ornamentation as the splendid Nubian columns of the Palace of Fine Arts, and the glories of the arches of the Court of the Universe. (See frontispiece.)

Go into that Court on a bright day and take note of the art that has made Nature herself a part of the color plan. From a central position in the court, where one can look down the broad approach leading from the bay, Nature spreads before the beholder two expanses of color, the deep blue of salt water sparkling 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 them in his scheme he chose for pillar and portico, for the wall s.p.a.ces behind, for arch and dome, for the decorations and for material of the sculptures, such hues that the whole splendid court and its vistas of palaces beyond blend with the colors of sea and sky and of green living things in a glorious harmony.

Such a view of the heart of the Exposition at its best compels recognition of Guerin's skill in color. It needed a vivid imagination to realize the possibilities of the scene, and visualize it. It required infinite delicacy and a fine sense of the absolute rightness of shade and tint to produce such harmonious beauty. The mere thought of it is a lesson in art.

The decision of the architects to develop the theme of an Oriental walled city, and the natural setting of the site, Mediterranean in its sea and sky, led Guerin to select Oriental colors. Aiming at simplicity, 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 conditions peculiar to San Francisco. Every phase of sky and sea and land, every shadow upon the Marin hills, across the bay, was noted in choosing an imitation of natural travertine for the key color of the Palaces.

This is a pale pinkish-gray-buff, which may be called old ivory. It is not garish, as a dead white would be, especially in the strong California sunlight, but soft and restful to the eye. It harmonizes with the other colors selected, and, most important of all, it avoids a certain "new" effect which pure white would give, and which is deadly to art.

Paul Deniville, who had already developed a successful imitation of travertine, was engaged to make the composition to be applied over the exterior walls. This is a reproduction in stucco of the travertine marble of the Roman palaces of the period of Augustus. This marble is a calcareous formation deposited from the waters of hot springs, usually in volcanic regions, and is common in the hills about 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 variety of the same marble. In its reproduction here the marble has been imitated even to the natural imperfections which roughened the Italian stone. In the concave surfaces of the ornamentation the color has been deepened, so that it appears sometimes as a rich reddish brown. All this enhances the antique effect, making the palace walls and columns still more like those of the old Roman construction.

Besides the travertine the eight other colors employed are:

1. French Green, used in all lattices, flower tubs, curbing of great plats, where it complements the green of the gra.s.s, In the exterior woodwork and some of the smaller doors.

2. Oxidized Copper Green, a peculiar mottled light green. All the domes, except the six yellow ones in the Court of the Universe, are of this light green. It forms a sharp contrast with the blue sky and a pleasing topping to the travertine walls.

3. Blue Green, found in the ornamentation of the travertine, and in the darker shades at the bases of the flag poles. These first three colors, all in tones of green, are regarded as one unit in the spectrum of nine colors allowed by Guerin.

4. Pinkish-Red-Gold, used in the flag poles and lighting standards only.

It is a very brilliant and striking pigment, and is always topped with gold.

5. Wall-Red, used in three tones. They are found in the backgrounds of the colonnades, courts and niches, on the tiled roofs, and in the statuary. These reds run from terra-cotta to a deep russet, and predominate in the interiors of the princ.i.p.al courts.

6. Yellow-Golden-Orange, largely used in enriching the travertine and in enhancing shadow effects. It is found in the architectural mouldings and in much of the statuary. 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 of golden yellow, while that close to the eye of the beholder is of verde-antique, a rich copper-green streaked with gray, and much is left in the natural travertine tint.

7. Deep Cerulean Blue and Oriental Blue, verging upon green, are used in the ceilings and other vaulted recesses, in deep shadows, in coffers and in the background or ornamentation in which travertine rosettes are set in cerulean blue panels. It might be called electric blue. It is brilliant and at the same time in harmony with the other colors.

8. Gray, very similar to the travertine.

9. Marble Tint, spread over the travertine in places with a transparent glaze.

10. Verde-Antique, really one of the many shades of green--a combination of the copper-green and a soft gray, and therefore not to be counted as one of the nine cardinal colors. It simulates corroded copper, and has faint yellow and black lines.

With the gamut thus restricted by the taste and discrimination of a master, the decorators and artists were strictly limited to the nine colors named. No one might use other 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 brown and yellow nullify any tendency towards carmine on crimson. The French and the copper greens and the intermediate shades approved by Guerin are the only greens allowed.

Here is seen the great advantage of a one-man idea. No other exposition was ever so carefully or successfully planned in this particular. There is no court of one color clashing with a dome, palace or tower of conflicting tone, whether near by or at a distance. All is in harmony.

Working with Guerin, John McLaren, in charge of the landscape gardening, so selected the flowers which border the paths and fill the parterres that they too conform to the color scheme. Though three different complete floral suits are to be seen at the Exposition in three periods, each one accords with the 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 Guerin used it to give a final touch to their scheme of color. They drew another lesson from the washerwoman. A familiar laundry device was used to give sparkle and brilliance to the waters of the pools and lagoons. They were blued, not by dumping indigo into the water, but by tinting the bottoms with blue paint.

V.

The Tower of Jewels

Imposing as the central accent of the Exposition's architecture--Its magic glow at night--A magnificent Roman arch--"Jewels" of the Tower-- An historical landmark--Inscriptions, sculpture and murals--Fountains of "Youth" and "El Dorado"--An epitome of the Exposition's art.

The Tower of Jewels, Carrere and Hastings, architects, is the central structure in the Exposition architecture. (See p. 47.) It plays a triple role. In architecture it is the center on which all the other buildings are balanced. In relation to the theme of the Exposition, it is the triumphal gateway to the commemorative celebration of an event the history of which it summarizes in its sculpture, painting and inscription. Last of all, it is an epitome of the Exposition art.

Towering above everything else, it is at once the culminating point and the center of the Exposition scheme. It links the palaces of the central group, otherwise divided into two sections. Upon it rests the balance of Festival Hall and the Palace of Horticulture, of the courts, the gardens, the Palace of Machinery and the Palace of Fine Arts. It finds its own balancing structure in the Column of Progress. It is intended to be the first thing seen from afar, the point from which the eye travels to lesser things on either hand.

At night the Tower remains the center of the transformed Exposition.

Under the white light of the powerful projectors, details disappear, the structure is softened into a form almost ghostly. It becomes ethereal.

All its daytime glitter gone, it seems really spiritual. The jewels hung over the upper portion do not flash out a diamond brilliance, as they might have been expected to do; rather they spread the light in a soft film about the Tower. (p. 135.)

From close at hand, the arch and its flanking colonnades are truly imperial. There the ornamentation and color of the upper part are not in the eye. Up to the cornice above the arch, the ma.s.s of the Tower is magnificent in proportion and harmonious in line and color. It almost seems that the builders might have stopped there, or perhaps have finished the ma.s.sive block of the arch with a triumphant ma.s.s of sculpture.

Studied from the ground underneath the Tower and around it, the arch and the two little colonnaded courts in the wings are gloriously free and s.p.a.cious, with the s.p.a.ciousness that the Exposition as a whole reflects, that of the sea and sky of its setting. I walked here when the ocean breeze, fresh from winter storms at sea, was sweeping through them.

There is no confinement, no sense of imprisonment from the boundless depths of air outside. Something which the architect could not include in his plans has come in to make constant this increase in the sense of freedom and s.p.a.ce. The openings of the arches, being the only free and unconfined pa.s.sageways through the south facade of the palace group, provide the natural draft on this side for the interior courts. The air rushes through at all times, even when no breeze is stirring outside.

This uncramped movement of air currents, far from being unpleasant, gives the same sense of open freedom that one gets on a bold headland, where the ocean winds whip the flowers and lay the gra.s.s flat.

From the court behind the Tower you see the mansioned hills of San Francisco through the colonnades like panelled strips of painting; and, looking northward, the long s.p.a.ces over the bay to the great Marin hills beyond.