V. (continued 3)

More notable than the building itself, or its priceless contents, is the fact that these are here. That, in the midst of war and its demands, France should still find time for the ideal, and for this beautiful tribute to the long-standing friendship between the two countries, is a demonstration of French spirit and of French culture that will not escape the attention of any thoughtful American. For France herself, as it has well been said, her appearance here means as much as a victory on the battlefield.

The French Pavilion is a dignified and impressive structure, as those who recall the Legion of Honor Palace in Paris will understand. The entrance to the court is a triumphal arch flanked by double rows of Ionic columns on either side, with figures of Fame as spandrels. The arch is connected by lateral peristyles with the wings of the pavilion, the attics of which are adorned with has reliefs. Ionic colonnades extend along the sides of the court to the principal front of the building, which is decorated with six Corinthian columns, forming a portico for the main entrance. The portal opens on a stage, above which a great central hall, flanked by lesser halls, extends back through the palace.

But the glory of the building is in its exhibits. France poured out the treasures of the Louvre, the Luxembourg and the National Museum to adorn this pavilion. Fine as is the exhibit in the French section of the Palace of Fine Arts, the best pictures and Sculptures are shown here. In the Court of Honor stands the masterpiece of the master sculptor of modern times, "The Thinker," by Auguste Rodin. (p. 158.) In the galleries are his "John the Baptist" and other important bronzes. Vast, unique and of the greatest interest is Theodore Riviere's wonderful group in bronze representing a triumphant band of desert soldiers dragging captive the Moroccan pretender, secured in an iron cage. There, too, are splendid paintings by Monet, Meissonier, Detaille, de Neuvilie, and many other French artists approved by time. Magnificent old tapestries adorn the walls of the great hall, with modern hangings on the entrance stage. Two shrines hold relics of Lafayette and Rochambeau, sent by their descendants; and busts of Washington and Franklin stand on either side of the heroic figure of France at the entrance.

French manufacturers have sent here those commercial articles which French taste elevates almost to the standards of Art. Exquisite products of the jeweler, the perfumer, the milliner and the costumer, with fine fabrics that make France famous, are shown in the wings beside the Court of Honor. But the greater part of the French industrial exhibits are in the Exposition palaces.

Belgium also finds her place in the French pavilion, with an exhibit of great interest, including many admirable modern paintings, fine panoramas of Antwerp, Ghent and Bruges, and a collection of rare old laces that will delight the heart of every woman.

Greece.—The Greek Pavilion represents the latest addition of a foreign nation to the Exposition family. The building was begun by the Kali Syndikat, a German corporation, forced by the war to abandon its undertaking. In April, 1915, the Greek government bought the building and finished it in classic style. Its exhibits include two hundred and fifty replicas of the most famous of ancient Grecian Sculptures.

Italy.—Though other countries have built pavilions characteristic of their soil and people, or have lavished their money on splendid examples of exposition architecture, it has remained for Italy to present in a single group a summary of the best that art has produced in a national history of two thousand years. (p. 159.) The Italian Pavilion does not attempt to reproduce any one architectural masterpiece. It echoes many. Therein is the triumph of the architect. Without copying, Piacentini has suggested in this building much that is famous in the architecture of Florence, Venice, and Rome. It is itself a masterpiece.

The Italian Pavilion is an irregular group of seven structures, all connected by arcades except the last building to the east, a moving-picture hall. The main entrance is at the west, where a broad low flight of steps leads up to a plaza between two tall buildings irregularly placed. That on the right, in Fifteenth Century style, contains the offices of the Commission. The hall on the left, reminiscent of the Bargello, is devoted to a splendid collection of antique Roman, Grecian, and Italian art, shown by Signor Canessa. On either side of the entrance is a Roman "Discus Thrower" in bronze. The Bargello hall is connected by an arcade with a square Etruscan tower, which in turn is similarly joined with other buildings that close the plaza on the east. In the rectangle between the two parallel buildings on the east, is a beautiful peristyled Venetian court, adorned with bronzes and marbles copied from originals in the Museum of Naples. In the center is a reproduction in stone and bronze of the well of the Palace of Campo San Giovanni e Paolo at Venice.

Of the two parallel buildings on either side of this court, the southern one is a Florentine structure containing a single hall devoted to purely governmental exhibits. The Tribuna between the two is the sanctuary of the pavilion, containing the portraits of King Victor Emmanuel and Queen Margherita, and portraits and relics of the great of Italy, explorers from Columbus to the Duke of the Abruzzi, scientists like Galileo, Galvani, Volta and Marconi, statesmen like Mazzini, and soldiers like Garibaldi. The other principal hall contains a series of rooms representing the cities of Italy during the Renaissance. First from the east is a reproduction of the Fifteenth Century library of the sacristy of the Church of Santa Maria alle Grazie at Milan, a chamber of beautiful armoires of carved wood, with panels painted with sacred pictures in colors. Next is a Neapolitan room, filled with reproductions in bronze and silver and marble of the Pompeiian treasures of the Museums of Naples and Rome. Then comes the Florentine Room, furnished in Fifteenth Century style with carved and inlaid wood, and adorned with copies of the best bronzes and marbles of the great mediaeval city. There is also a dining room in Fourteenth Century Florentine style, and then comes, at the western end, the Royal Salon, a magnificent hall with ceilings in blue and gold, and murals by Pieretto and Bruno Ferrari.

All the art works of the mediaeval rooms are copies of originals, but in the Bargello Hall, Signor Canessa, who was J. P. Morgan's European agent, shows his collection of veritable Italian and ancient art. Here are many things familiar through books, Michelangelo's bust of the Virgin; a cabinet full of reliquaries and profane vessels in crystal, gold and enamel done by Beuvenuto Cellini; the bronze Bacchante with silver eyes which was dug up in the gardens of the Persian embassy at Stamboul, and which dates from the Third Century B. C.; the famous portrait bust in rock-crystal of an Egyptian king of the Eighteenth Dynasty; madonnas and saints by Fifteenth Century painters; a complete garden set, fountain, statues and all, from a Pompeiian villa; Greek bronze and silver vessels and statuettes; Bernini's bust of the Cardinal de Medici; Fifteenth Century tapestries, and so many other objects of mediaeval and ancient art that a special catalogue has been prepared to describe them.

Italy's modern painting and Sculpture are well represented in the Palace of Fine Arts, and her industrial and commercial exhibits are in the other palaces.

Japan.—Japan has chosen her temple and palace gardens as the types to represent her at the Exposition. (p. 169.) She dug up the Mikado's private garden at the end of the sacred Red Bridge in Nikko, trees, shrine, rocks, greensward and soil, and set it down again on the Exposition grounds. So doing, she has shown the Western world a lesson in the beauty of simplicity. The central building in this charming garden is a copy, enlarged, of the Golden Pavilion of the Roku-on-ji Temple in the city of Nara. It is of plain wood and lacquer, with interior walls and ceiling entirely covered with gold leaf. The office building joined to the temple was suggested by the shrine of the ancient castle of Fushimi. The exhibit building north of this temple houses a complete and remarkably beautiful fac-simile of the famous temple at Nikko, one of the finest in Japan. The Mikado's private collection of Japanese art, never before opened to the public, even in Japan, is placed in the Japanese section of the Fine Arts Palace. The paintings, scrolls, porcelain, satsuma ware, Sculptures and metal work shown in this very noteworthy exhibit were collected by the late Emperor Mutsuhito.

One of the tea houses is an exhibit of the Central Tea Traders' Association, the other one by the Formosan Government. The striking features of the gardens, beside the stream and the lakelet, are the dwarfed conifers, priceless trees. Two of them are the products of ten centuries of systematic pinching back. With them are three sago palms, five hundred years old. Scattered throughout the gardens are stone lanterns. Every plant, every bit of turf, every stone in the bed of the stream even, came from Nippon.

Japan is one of the largest exhibitors in the Exposition. Her displays, shown in every palace except Machinery, are an amazing demonstration of the degree to which she has entered the trade of the world.

The Netherlands.—In its domed pavilion, gay with many bannered staffs, the Netherlands has achieved one of the most striking buildings in the foreign section. (p. 157.) Its architecture is not representative of the traditional Dutch style but fulfills the modern ideas of the present-day school of builders in Holland. Most prominent is the clock tower, where a bell rings the hours.

Within, the pavilion presents Holland as one of the great colonial nations. Roughly, it has three divisions, devoted to the mother country, the Dutch East Indies, and the Dutch West Indies, in each of which industry and commerce is pictured in dioramas and exemplified by displays of products. Dutch girls in national costume serve visitors in the refreshment room.

Holland's most noteworthy exhibits are those made by the Board of Horticulture of the Netherlands in the gardens of the Palace of Horticulture, and her pictures in the Palace of Fine Arts. Holland sent to San Francisco ten carloads of rhododendrons, conifers, and bulbs. To install them she sent Mynheer Arie Van Vliet, the landscape engineer of the Peace Palace at The Hague. Her industrial exhibits are in the Exposition palaces.

New Zealand.—The New Zealand Pavilion is of mixed French and Italian styles. It was designed by Lewis P. Hobart of San Francisco, in collaboration with Commissioner Edmund Clifton. While it contains a representative display of the chief products of the youngest of the Dominions, the main exhibits are in the Palaces of Mines, Agriculture, and Food Products.

Norway.—Norway, like Sweden and Denmark, has succeeded admirably in reproducing its national spirit in its pavilion. The building is a long story-and-a-half structure, in the ancient Norse style, dominated by a beautiful tower on which is emblazoned the Norwegian coat-of-arms. The lower floor contains three large dioramas of characteristic Norwegian scenery, and an exhibit hall wherein are shown products of the industries of Norway, especially her great maritime activities. As in the case of the other two Scandinavian countries, the sons of Norway in California built the pavilion, while the Norse Government provided the exhibits.

Portugal.—A sign of the glorious past, when Henry the Navigator made his country a great sea power with colonies around the globe, appears in the knotted cable that binds Portugal's Pavilion. The fantastic architecture of this little palace is also historically significant, for it was adapted from that of the Cathedral of Jeronymos, the Convents of Thomar and Batalha, and the Tower of Belem, built in celebration of Portugal's golden age of discovery. The style is known as the Manuelino. Antonio do Couto of Lisbon was the architect, assisted by the sculptor, Mota Sobrinho. The building has a local significance in California, where thousands of Portuguese have settled. In the pavilion is a display of laces, inlaid articles and wickerwork, exhibits which are repeated in greater variety and with other products in the Exposition palaces. The walls are beautified with a series of very remarkable photographs of famous Portuguese cathedrals.

Siam.—The Siamese Pavilion is a perfect example of the architecture of the Far East. It reproduces a pavilion on the palace grounds at Bangkok. It was first built there by native workmen, taken apart in sections and shipped to San Francisco to be set up on the Exposition grounds. Teak, sandal-wood and other rare Asiatic timbers are used in its construction. Hammered metal work, carved ivory, and tapestries form its interior decorations; but, in striking contrast to its ancient art and spirit, the building is a moving-picture palace where Siam's life and industry is shown.

Sweden.—Sweden has delighted everybody with her pavilion, a building finely representative of the people who built it, and with her industrial exhibit as well. (p. 160.) The pavilion combines the best in Swedish ecclesiastical and domestic architecture, the church tower and the gabled hall near the center, dwelling-house types at the ends. It was designed by Ferdinand Boberg, a noted leader in Swedish art.

The building is almost entirely filled with exhibits of Swedish industry, a presentation as good in its way as Canada's splendid picture of her great, hardly touched resources. The Swedish steel works have sent numerous models of locomotives, steamships, and machinery, and full-sized samples of smaller products. The government has furnished models of docks and bridges, of buildings and other engineering works. The familiar Swedish matches are here in pyramids. There are rooms furnished by Swedish artisans in birch and oak, with chandeliers of hammered iron, carpets from Swedish looms, and fine ceramics from the Swedish potteries. Other exhibits are in the Exposition palaces. In art, the Swedish collection in the Palace of Fine Arts is perhaps the most distinctive display made by a foreign nation.

Sweden's part in the Exposition was made possible by the Swedish citizens of California, who gave the funds for the pavilion, while the home government provided for the installation of the exhibits.

Turkey.—The Turkish Pavilion supplies the one touch of Islam in the foreign section. The Ottoman building is a copy of the palace of Sultan Ahmed I at Stamboul, the summer home of the present Sultan. Within the pavilion is a ballroom, cafe, and lounging rooms. But the interest of the building, and of the little mosque behind it, as examples of Turkish architecture, is entirely overshadowed by the wonderful collection of rare rugs, beautiful brasses and carvings, and rich inlaid and jeweled ornaments, all part of the Sultan's treasures, and valued at $1,500,000.

XVII.

The State Buildings

A section full of historical and architectural interest—Many notable buildings simply furnish State headquarters, others contain important exhibits—California's great Mission structure—The remarkable display of her counties—New York's stately palace—Oregon's timbered Parthenon—Interesting chapters in American history told by the houses of Massachusetts, Virginia, Pennsylvania, Maryland and New Jersey—Fine buildings of the Western States—Attractive pavilions of the Philippines and Hawaii.

The state buildings at the Exposition fall naturally into three groups: those that reproduce or suggest historical structures, those characteristic in some way of their builders, and those that express the importance of their states by dignified architecture and significant exhibits. The richer the history of the state, the more likely its building is to reflect its past. Several states which possess famous historical buildings, such as Mount Vernon or Independence Hall, have either copied them or used their motives in the Exposition structures. Twenty-seven states, the Territory of Hawaii, and the Philippine Islands, are represented by twenty-eight buildings.

The California Building, Thomas H. Burditt of San Francisco, architect, by far the largest state building ever erected at any exposition, is an exceedingly happy treatment of the Mission style. (See p. 179.) Its commanding tower is better than anything ever done by the padres in California. From its facade, Fray Junipero Serra looks out over a charming garden, which, more than anything else, invests this building with the real spirit of California. It is a reproduction, even to the fountain, the pepper trees, and the old fashioned flowers, of the private garden of the Santa Barbara Mission, a spot where no woman treads. From this garden, enclosed by walls of clipped Monterey cypress, one looks at the tower and is at once translated to Southern California.

This building covers five acres, and is worthy to be ranked with the Exposition palaces. Under the tower is a fine vaulted loge and a reception room, both opening into a splendid balconied ballroom behind, all finished in the Exposition travertine. The walls of the reception room are hung with magnificent tapestries, loaned by Mrs. Phoebe A. Hearst. The west wing contains the administrative offices of the Exposition and the Woman's Board, and the directors' club rooms. The large eastern wing is entirely filled with the displays of the fifty-eight California counties. (p. 182.) These together form one of the most noteworthy exhibits in the entire Exposition. They demonstrate the fact that a multitude of other resources besides her gold entitle California to be called "the Golden State."

The Oregon Building, Foulkes and Hogue of Portland, architects, imitates, though it does not reproduce, the Parthenon of the Athenian Acropolis. (p. 191.) Doric marble is replaced by the natural columns of the great trees of Oregon, and the frieze of Phidias, by the fretwork of the bark of pine and fir. There are forty-eight of the great columns, the same number as in the outer colonnade of the Parthenon, and, coincidentally, one for each State of the Union. They were cut from among the largest of trees. The Douglas fir, next to the redwood and the sequoia the most massive of living things, furnished most of them. But the largest happen to be the two giant incense cedars, which stand on either side of the main entrance. These are eight feet and ten inches in diameter. Then there are two columns on the south side, both cut from a spruce that was four feet seven inches through at 101 feet above the ground.

In exterior proportions the building reproduces the Parthenon, but the Parthenon had a double row of columns around its porch, the Oregon temple has but a single row. In size it is considerably larger than the Partheon. The great flagpole is a single stick of Douglas fir, 251 feet long, set in a 200-ton block of concrete. The building contains an excellent exhibit of Oregon's resources.

The Washington Building, A. F. Heide of San Francisco, architect, is a striking example of the French Renaissance. (p. 191.) Unlike most of the state buildings, it is used largely for the exhibition of home products. Its motion pictures, its group of wild life, and its displays of agriculture, mining, forestry and fisheries, are all designed to advertise the remarkable scenery and resources of the Evergreen State. Washington is an important exhibitor in the Palaces of Horticulture, Agriculture, Food Products, Mines and Education.

The New York State Building is, next to that of California, the largest structure erected by any state. (p. 170.) It is in every way a dignified and noteworthy example of the best modern civic architecture. Charles B. Meyers, of New York City, was the architect. The building is finished in plastic travertine. A magnificent entrance opens upon a wide central corridor. An assembly room, intended for the use of New York organizations, and a restaurant, pierce the second story. The other rooms on the first floor are devoted to the reception and convenience of New York visitors. On the other floors are the offices and apartments of the Commission, with a special suite for the Governor of the State. New York's official exhibits are in the several exhibit palaces.

The New York City Building, Bertram G. Goodhue, of New York, architect, is the only municipal building at the Exposition. It is a simple classic structure, housing an extensive display intended to demonstrate and promote municipal efficiency. Its exhibits, maps, models, photographs and charts,—admirably illustrate all sides of city government.

The Massachusetts Building, planned by Wells and Dana, of Boston, is a fac-simile reproduction of the Bulfinch front of the Massachusetts State House on a scale of two-thirds. (p. 181.) Within, as well as without, it is of commanding interest to every American. Its rooms are furnished with veritable colonial furniture. The club room to the right of the entrance hall is done in Jacobean style, the reception room opposite shows fine copies of Chippendale, Sheraton, Hepplewhite and Adams originals, and is hung with a long series of historic portraits, lent by Massachusetts families and the State Historical Society. On the second floor is a room filled with genuine old furniture by the most famous makers, fine colonial mirrors, and a Willard clock. The Governor's suite and the Commissioners' rooms are furnished with exquisite copies of colonial models.

The Pennsylvania Building, Henry Hornbostel, of Pittsburgh, architect. This interesting structure is reminiscent of Independence Hall, Philadelphia, though it is not a reproduction of the Cradle of Liberty. (p. 181.) Its plan was dictated by the necessity of a fireproof structure in which to house the Liberty Bell at the Exposition. Consequently, it is the solidest and most enduring of the state buildings. Besides the Bell, which is placed in the loggia, its most striking feature is the two fine mural paintings under the attic, from the brush of Edward Trumbull, of Pittsburgh, one representing Penn's Treaty with the Indians, and the other Pittsburgh Industries.

The New Jersey Building, Hugh Roberts, of Jersey City, architect, like those of Pennsylvania and Virginia, tells of the days of the Revolution. It is a copy of the old Trenton barracks, erected in 1758, and used alternately by British and Colonial troops during the Revolution. Within, its simple and comfortable appointments make it one of the most popular of the state buildings. A large lounge with blazing fireplaces, and furnished in white reed, occupies the entire central section. In the east wing are the offices and rooms of the Commission. The west wing contains the lobby and a reception room in which hang two large marines painted by N. Hagerup, of San Francisco. As the building is to be President Wilson's headquarters if he comes to the Exposition, a splendid suite, corresponding with the rooms occupied by General Washington, has been furnished and reserved for him.

The Maryland Building, designed by Thomas, Parker and Rice, of Baltimore, presents a fascinating study of colonial architecture in its reproduction of "Homewood," built by Charles Carroll of Carrollton in 1802. The present aspect of "Homewood" has been imitated in appearance of age given to the brickwork and the timbering. The contents of the building are no less delightful, historically, than the structure itself. The Colonial Dames of America have enriched the walls with original portraits of colonial celebrities, old prints, original grants by the Baltimores, and many historical documents and relics. Colonial furniture adorns the rooms. Few of the state buildings will so well repay a visit.

The Virginia Building, Charles K. Bryant, of Richmond, architect, is as significant historically as any on the grounds. It is a complete reproduction of George Washington's home at Mount Vernon, down to the spinning room, the detached kitchen and the servants' quarters, and furnished in part with Washington's own furniture loaned by Miss Nannie Randolph Heth, of Virginia, the official hostess of the building. There is Washington's chair, Mrs. Washington's work box, Nellie Custis' music stand, and many other relics of the Father of his Country. The remaining furniture, also loaned by Miss Heth, consists of antique specimens brought over from England in colonial days.

The West Virginia Building, designed by H. Rus Warne, of Charleston, W. Va., while not copying any individual structure, suggests well-known colonial types. Its veranda, in particular, is like that of the home of the Lees at Arlington. The chief room is the long reception hall, where logs always burn in a huge fireplace, typifying the warmth of West Virginian hospitality.

The Mississippi Building, Overstreet and Spencer, of Jackson, architects, was designed to suggest the old-style Southern mansions. Some of its motives, especially the pillared portico, were taken from the old capitol building at Jackson. The displays contained in it are chiefly agricultural. Mississippi is also represented in the Exposition palaces.

The Ohio Building, designed by Albert Pretzinger, of Dayton, is a copy, on a smaller scale, of the classic State House at Columbus. Containing no exhibits except the relics shown by the State Historical Society, the building serves the social side of Ohio's participation in the Exposition. Its upper floor is entirely occupied by suites for the Governor and the Commissioners.

The Indiana Building, designed by J. F. Johnson, of Indianapolis, represents a type of modern Hoosier dwellings. It is of permanent construction, of sandstone and brick with a tiled roof, and unique in the fact that all of the materials used and all the furnishings are Indiana products. State pride appears again in the library of 15,000 volumes, confined entirely to the works of Indiana authors and books about Indiana. In addition to the building, which is wholly an exhibit, Indiana is well represented in the Exposition palaces.

The Illinois Building, designed by State Architect James Di Belka, of Chicago, is perhaps the best exhibit of the State at the Exposition. (p. 180.) It is a dignified three-story structure of the Italian Renaissance. The Sculptured tablets of the facades represent the history and progress of Illinois. The exhibits within are of unusual interest. The Lincoln Memorial Room, made possible by Mrs. Jessie Palmer Weber, contains a great collection of photographs, letters and relics of Lincoln, and many articles connected with his life. The valuable series of films prepared by the Chicago City Planning Commission is shown in the moving-picture hall. This building contains a fine pipe organ on which frequent recitals are given.

The Wisconsin Building, designed by R. A. Messmer & Co., Milwaukee, in the colonial style with wide porticoes, contains one of the State's best exhibits in its interior finish of fine Wisconsin hardwoods. The floors are all of maple and the paneled wall of birch. "Old Abe," the famous Wisconsin war eagle, stands above the main entrance. Over the fireplace in the reception room is a panel in relief, "The Progress of Wisconsin." The building is used a headquarters for Wisconsin visitors.

The Iowa Building, Clinton P. Shockley, of Waterloo, IA., architect, is a classic structure, finished, like most of the state buildings, in the Exposition travertine. It does credit to the public spirit of Iowa business men, who, in default of a legislative appropriation, supplied the funds.

The Missouri Building, designed by H. H. Hohenchild, of St. Louis, is a structure of real distinction in the Georgian style. (p. 180.) It copies no Missouri building, and is historical only in its pleasant combination of architectural features much used in early days. The building is of permanent construction and after the Exposition closes is to be turned over to the Government as a club house for the army,—this as a compliment to Major-General Arthur Murray, who, like so many other eminent Americans, hails from Pike County. The Missouri Home, as it is called, is used as a gathering place for visiting Missourians, and for the strong Missouri Society of California.

The Kansas Building, Charles Chandler, of Topeka, architect, is a pavilion in the style of the Italian Renaissance. It is a club house, devoted solely to the comfort and entertainment of visitors. Strong exhibits are made by the state in the palaces of Agriculture, Horticulture, Food Products, Education, and in the Live-Stock Section.

The Arkansas-Oklahoma Building, designed by George R. Mann, of Little Rock, was built and furnished by private subscriptions by citizens of the two states. It is a roomy bungalow designed for the convenience of visitors from Arkansas and Oklahoma, and exhibits some of their products.

The Texas Building, Page and Brothers, Austin, architects, is a pleasing example of Mexican architecture as distinguished from the California Mission style. It suggests the Alamo, and bears the Lone Star pierced through its raised cornice. Within is a patio, reached by broad entrances from the verandas at front and rear. A motion-picture hall, a ballroom, offices and rest rooms occupy the greater part of the building. The state exhibits are in the Exposition palaces.

The North Dakota Building, Joseph B. De Remer, formerly of Grand Forks, now of Los Angeles, architect, owes its unique ground-plan to a three-cornered lot. That it is a pleasing structure is witnessed by several dwelling houses now being built in California after its plans. The building is French in style, treated in a simple manner. It contains interesting exhibits of the products of the Northern State, including a noteworthy display of pottery made at the University of North Dakota, an institution which devotes much of its effort to promoting state industries.

The Montana Building, Carl Nuese, San Francisco, architect, is one of the group of classic structures finished in plastic travertine. The only display made in the building, which serves as a social center for visitors from Montana, is a school exhibit. The State is, however, largely represented in the Palaces of Mines, Agriculture and Horticulture.

The Idaho Building, Wayland and Fennell, of Boise, architects, was the first state structure completed at the Exposition. It is built in the manner of the Italian Renaissance and looks out over the bay. Like most buildings of the Western states, it is equipped with a moving-picture theatre, as well as rooms for visitors. Idaho's exhibits are chiefly in the Exposition palaces.

The Nevada Building, designed by F. J. De Longchamps, of Carson, is another structure in the style of the French Renaissance. It is the headquarters of the Nevada Society of California and of visitors from the Sagebrush State. Nevada has important exhibits in several palaces.

The Utah Building, Cannon and Fetzer, of Salt Lake, architects, is a classic structure with deep porticoed front. All its furniture is an exhibit, made by the pupils of the manual training department of the Utah schools. The building contains interesting models of copper and gold mines, and an exhibit of the processes of salt-making, displays of building-stone, grains and grasses, and collections from the cliff dwellings. Other exhibits are in the Palaces of Mines, Education and Horticulture.

The Hawaiian Building, C. W. Dickey, of Oakland, architect, excellently represents the Pacific isles. In style it is French Renaissance, built with a half rotunda at the rear to accommodate a semi-circular aquarium. In the center of the main hall is a clump of palms and tree ferns, and native singers give the island touch. The aquarium contains a wonderful collection of the many-hued fish of the South Seas. Interesting displays of native cabinet woods are made in the finish of the offices. Though small, the Hawaiian building has proved one of the most popular.

The Philippines Pavilion, designed by the Bureau of Architecture, is one of the Exposition places which no one should miss. It marks the creation of an original style of exposition building. It is Filipino in all its motives. Its groups of four columns suggest the four essential posts of native hut construction; the broad roofs are tiled; the windows are not glass, but of thin shell, the common material used in the islands; the walls are finished in split bamboo matting. The same style of construction is used also in all the Philippine booths in the palaces. The materials are used with restrained taste, and this, with the magnificent cabinet woods employed throughout the construction, has resulted in a beautiful building. It is a little hard to realize the richness of the woods used here. The very floors in the pavilion and the booths are good enough to make piano cases of. The central portion, upstairs and down, is floored, wainscoted and ceiled with the costliest of timber. The two offices to right and left of the main entrance are finished in a beautiful, hard, heavy rosewood, called narra, the one to the right in yellow narra, that on the left in red narra. The stairway is of a magnificent, richly figured, claret-red hardwood called tindalo, the favorite material for such construction in the islands. The panels of its wainscoting and the balusters are of a dark velvety epil, so dark and so glossy in some places that it looks almost like agate. All the columns are natural trunks of the palma brava.

XVIII.

The Live-Stock Exhibit

The first Exposition to offer a live-stock exhibit covering its entire period—Prizes total $440,000—Classification of competitions—New methods of displaying herds and flocks—Contests in dairy and beef cattle—Other exhibits range from high-bred horses, hens and sheep down to pet rabbits, rats and mice.

For the first time in the history of similar celebrations, this Exposition offers a continuous live-stock show. Other expositions have confined their live-stock exhibit to a few weeks during the time of award-making. Here, however, the show extends from the opening of the Exposition until its closing. The competitive period extends from September 23 to December 3. Naturally this will mark the high tide of the display. During this time the International Jury on Awards will distribute in cash prizes a total of $440,557. Of this amount, $190,000 has been given by the Exposition management, $100,327 by the breed record associations of the country, and $150,230 by various states to be used in prizes and the transportation of stock.

These attractive prizes will be distributed, among the well-established and well-known breeds of draft and light horses, ponies, beef and dairy cattle, sheep, swine, poultry, pigeons, and pet animals. All animals will be judged according to the rules of recognized breed associations. Foreign or other animals not recorded in the books of the associations named in the premium list will be judged by the standards of the associations to which their exhibitors belong.

The educational value of the live-stock show for the general public, as well as the stock breeder, has been emphasized in every department. The increased cost of living being a dominating topic for both producer and consumer, much attention has been centered on meat-producing animals. Liberal provision has been made in the prize list for fat classes in beef-cattle, sheep and swine.

When the Exposition management designed the live-stock section and planned the buildings for the various features of this department, an effort was made to create a model arrangement for exhibit purposes. So successful was this effort that a number of states have requested the plans for a ground layout. This portion of the Exposition cost the management approximately $150,000, and covers sixty-five acres. The buildings represent, in their equipment, the very latest development in the housing and caring for stock. The visitor first approaches from the east a quadrangle of eight large stables, enclosing the forum where the live-stock shows are held. These stables have a total accommodation of 1124 horses. The forum has a seating capacity of 2680 persons.

To the north of the stable quadrangle is Congress Hall, for the accommodation of conventions and other meetings, and containing also the administration offices of the chief of the live-stock department. On this side also are the corrals, feed storage barns, a service yard, and an area for open-air exhibits. To the south is the large dairy building, a dairy manufactures building, and the poultry exhibit building. The dairy building houses more than 300 animals. West of the stable group is the mile racecourse with its polo and athletic field.

One of the novel features of this show is the manner in which the view herds and flocks are displayed. These are seen in stalls and pens built at an angle of about forty-five degrees to permit the visitor to get a side view of the stock. The view-herd idea in itself is something new. These exhibits are purely educational in purpose, and non-competitive. They have been on display since the opening, and will continue until the close of the Exposition, thus enabling the visitor to see a creditable live-stock show, no matter at what season he may come. The view herds are selected by competent authorities, and represent the best of their respective breeds. Among such herds on exhibit are Shorthorn cattle, Berkshire swine and Percheron horses. These exhibits are changed from time to time.

In addition to these general features, the special events include the milk show, harness races, universal polo, wool grading, sheepdog trials, poultry show, and an international egg-laying contest.

For eleven classes of dairy cattle the Exposition offers awards, as follows: Jersey, Ayrshire, Guernsey, Holstein-Friesian, Dutch-Belted, Dairy Shorthorn, Brown Swiss, French-Canadian, Simmenthal, Kerry and Dexter, and Grade-Dairy Herd. This last is a recognition on the part of the Exposition of the great utility value of the grade-dairy cow, which forms the basis of the dairy industry, and yet could not exist without the pure-bred stock. In the beef-cattle group, the Exposition offers awards in the following classes: Short-Horn, Hereford, Aberdeen-Angus, Galloway, Polled Durham, Red Polled, Devon, Fat Cattle (by ages) and Car-lots.

One of the especially attractive features pertaining to the dairy section is the exhibit of 150 high-grade Holsteins for utility purposes. This herd is in full flow of milk and is maintained by a large milk condensing plant. This exhibit, in the daily care given these perfect specimens of dairy cattle, the yield of Milk, the quality of feed and the appliances used, forms one of the most attractive units in the department. An important event in this section was the pure milk and cream contest, June 14 to 19, in Congress Hall. City and state boards of health and the dairy divisions of agricultural colleges participated in the contest. The purpose of the event was designed to create a greater interest in pure milk and cream. Four samples of milk and cream each were submitted. One of these was submitted to an official bacteriologist, a second given to the official chemist, a third displayed in Congress Hall, and the fourth tested for its butter-fat content. Awards of gold and silver medals and cash prizes were made in the following classes: city boards of health, cream dealers, milk dealers, college experiment stations, pasteurized milk, pasteurized cream, market milk producers, certified and medical milk commissions.

In the horse exhibit the following classes are provided: Percheron, Belgian, Clydesdale, Shire, Suffolk-Punch, Standard Trotter, Thoroughbred, Saddle Horses, Morgan, Hackney, Arabian, Shetland Pony, Welch Pony, Roadsters, Carriage Horses, Ponies in Harness, Draft Horses, Hunters, Jumpers, and Gaited Saddle Horses. Among special events in this section are the following: trot under saddle, one-mile track, one-mile military officer's race, one-mile mounted police race, gaited saddle race of one mile, steeple chase, hurdle race, polo pony dash, relay race of one mile, cowboy's relay race of same length, cowgirl's relay race, six furlongs, saddle tandem. Exposition jumping contest and five-mile Marathon four-in-hand. On the closing day of the Exposition there will be a grand parade of all first and second winners, not only in the horse display, but in all other displays in this department.

The following dates have been set for the exhibition of stallions and mares in the breeding classes in the Forum: Thursday, September 30,— Percheron, standard trotter, Welch pony, and Morgan; Friday, October 1,— Belgian, Thoroughbred, Hackney, and Shetland Pony; Saturday, October 2,—Clydesdale, Saddler, Arabian, and Suffolk-Punch; Monday, October 4,— Shire, Jacks and Jennets, and Mules.

The exhibition of horses for awards is from Thursday, September 30, to Wednesday, October 13. One of the important events of this period is the special horse show. Two other big special events are the races and international polo tournament. The polo tournament from March 7th to May 1st enlisted the following teams: Cooperstown, N. Y.; Philadelphia Country Club; Midwick Polo Club; Pasadena, Burlingame and San Mateo Clubs; Boise, Idaho, team; Portland, Oregon, team; First Cavalry, Monterey; Second Division Army, Texas City, Texas; and Southern Department Army, San Antonio, Texas.

The Exposition harness races cover two periods, one from June 5 to June 15, and the other from October 30 to November 13. In addition to these there will be matinee races from May 23 to September 30. A total of $227,000 has been set aside for purses in these races.

The poultry exhibit for award is scheduled from November 18 to 28. This is known as the Universal Poultry Show, and is planned to be one of the largest ever held. Between 10,000 and 12,000 chickens, entered from all parts of the Union, will be in competition. In conjunction, the American Poultry Association meets in Congress Hall in the live-stock section. The International Egg-Laying Contest, extending over a period of one year from November 15, 1914, has attracted widespread attention. Pens of fowls have been entered in this contest from the United States and Canada, and even distant England. Daily records are kept of the production of each hen, and, once a month, the score is bulletined by the live-stock department for the information of owners.

Sheep and goats are to be judged for awards from Wednesday, November 3, to Monday, November 15. The breeds classified are: Shropshire, Hampshire, Cotswold, Oxford, Dorset, Southdown, Lincoln, Cheviot, Leicester, Romney, Tunis, Rambouillet, Merino-Ameiran, Merino-Delaine, Corriedale, Exmoor, Persian Fat-Tailed, Karakule, and car-lots; goats, Toggenburg, Saanen, Guggisberger, and Anglo-Nubian breeds, with the grades of each breed, and native goats.

The exhibit of swine for awards runs between the same dates. The eligible breeds, besides swine in car-lots, are Poland-China, Berkshire, Duroc-Jersey, Chester White, Hampshire, Tamworth, Mule Foot, Large Yorkshire, Large English Black, Victoria, Essex, and Cheshire.

The scope of the live-stock department is not limited to the material things of rural life. A Universal kennel show is scheduled from November 29 to December 1. Two classes of dogs are provided for in the awards, sporting and non-sporting. A cat show, of long and short-haired cats, is set for the same period as the kennel show. Other groups of exhibits in this line are pet stock, rabbits, hares, rats and mice, and children's pets.

XIX.

Sports and Games; Automobile Races; Aviation

Exposition contests include nearly every branch of sport—National Championships of the A. A. U.—Two great automobile races, the International Grand Prix and the Vanderbilt Cup, already run—Polo and Golf—Sensational flights of the aviators—The International Yachting Regatta and other aquatic events—All-star baseball expected in the fall.

An account of the Exposition, and indeed, American athletic history for the year 1915, would be incomplete without a description of the sports programme. This outline of games and exhibitions includes nearly every branch of sport familiar to the American public, and its wide appeal has attracted many thousands to the athletic fields and gymnasiums of the Exposition. Although ten months of sport was originally intended by the athletic committee, this period has been somewhat abbreviated by circumstances, though a practically continuous performance has held sway since February 22.

International competition, at first intended in many branches of the programme, was generally abandoned on account of the European conflict; but the want of foreign representation has in no way lessened the quality of competition, or dampened the attractiveness of the summer contests. Some of Europe's star track men are entered here, in spite of conditions on the continent.

Perhaps the most popular attractions of the programme are the national championships, held every year under the auspices of the Amateur Athletic Union. At the convention of that body during November, 1913, prior to the death of its president, James E. Sullivan, it was voted unanimously to award all of the organization's events, with the exception of boxing, to the Panama-Pacific Exposition. These championships are the blue-ribbon events of the amateur world. They include track and field games, swimming, boxing, wrestling and indoor gymnastics. Three of these championships were staged in San Francisco before the opening of June.

In basket ball, the first of the national competitions, premier honors went to a California organization, the San Francisco Olympic Club. Next in line came gymnastics, followed by wrestling. Although these sports are not immensely popular with the athletic enthusiasts, generous galleries turned out to see the American champions in action.

The more important part of the Amateur Athletic Union programme was scheduled for the summer months, when the track and field championships are held. Facilities for staging these games are ideal. The cinder path, situated at the far end of the Exposition grounds, with unexcelled scenic advantages, is reputed to be the equal of any athletic stadium in the country. The oval measures one-third of a mile to the lap, with a 220-yard straightaway flanking the grandstand. The earlier games convinced Eastern athletes that there could be no complaint against facilities.

The senior and junior track and field championships of the Amateur Athletic Union loom up as the banner track events of the programme. National stars have signified their intention of participating in these games, and it will be surprising if many national records are not broken. In addition to these games, the International Olympic Committee, which controls all the modern Olympic meets, conferred upon the Exposition the right to hold the Modern Pentathlon, this being the first time it has been contested outside of the Olympic Games. In addition, America is to have for the first time the Decathlon, and the famous Marathon race originated in Greece centuries ago, and impressively revived during recent years by the more important athletic bodies of the world.

Besides the Amateur Athletic Union track and field games, an abundance of competitions, ranging from grammar school contests to collegiate struggles, was arranged. Among the first of these, the Pacific Coast Intercollegiate Conference, was won by the University of California from a field of collegiate teams representing the entire Pacific Coast. Several high and grammar school contests have attracted spectators to the stadium. One thousand grammar school athletes entered the lists upon the Exposition cinder path, and staged a carnival that stands as a record in California, and approaches any American event of its kind both in the number of entrants and the class of competition offered.

Automobile racing, of the kind that thrills, was furnished by the Exposition during its early weeks. Two events of international importance were run upon the Exposition grounds, and in each instance attracted one hundred thousand spectators to the course. The first of these was the International Grand Prix, run in the rain and under other conditions far from ideal, over a four-mile course for the distance of four hundred miles. Sensation followed sensation in this feature, a final winner being supplied in the swarthy Darius Resta, who drove a Peugeot car for an average speed of fifty-six miles, 7:07:57 being his actual time. Other drivers of international reputation appeared in this struggle, among them De Palma, Hughes and Wilcox. Handsome prizes were distributed to the winners in these events.

The Vanderbilt Cup Race was staged over the same course on March 7, and brought out an equally attractive field. Running with the precision and dexterity that brought him home a winner in the Grand Prix, Resta repeated his victory in the Vanderbilt Race, coming home from his journey of three hundred miles ahead of such stars as Burman, Pullen, Wilcox and De Palma. Resta earned the reputation of being one of the most skillful drivers holding the wheel in this or any other country.

For six weeks, from March to May, polo held popular sway at the Exposition. Ten teams competed in a tournament which offered many valuable trophies. The contests were held daily and attracted thousands to a specially prepared turf field near the athletic stadium. The sport furnished thrilling competition throughout its period.

Perhaps the most famous team seen in competition was the noted four from Cooperstown, New York, bearing an international reputation. The Easterners, although weakened by illness in the ranks of their players, proved practically invincible. Another notable organization was the four representing the Midwick Club of Pasadena, California. In addition to the civilian teams, the United States army was represented by some fast fours, who provided thrill after thrill with their reckless but winning form in the saddle. Perhaps the most notable of the military combinations was the Fort Sam Houston four, which went through the tournament with practically an undefeated record. The army teams were granted certain handicaps, however, which gave them a slight edge in some of the contests.

Aviation, a branch of sport which claims a large place in the popular fancy, was not neglected by those who drew up the programme. Two world-famed aviators have performed before hundreds of thousands, though one of these, Lincoln Beachey, became a victim to the elements which he had so often defied. While giving an exhibition flight in a German Taube, Beachey fell to his death on March 14 when his monoplane crumpled at the start of a daring loop.

Nothing daunted by the untimely end of Beachey, a new luminary appeared in Arthur Smith, whose aerial maneuvers exceed in point of recklessness anything attempted by his predecessor. Smith thrills thousands in daily flights and skiey acrobatics, including crazy dips and loops, startling dashes to the earth and illuminated flights through the night air. (See p. 192.) Smith became in a day an attraction outshining, perhaps, any other single performer upon the huge Exposition programme.

Those who loved horse racing and grieved at the decline of the sport in California, were rejoiced at the announcement of some of the biggest harness and running events yet staged in this country. Two meetings were arranged for the Exposition schedule, a summer harness event, June 5th to 19th, and a fall running meeting, October 30th to November 13th. The Panama-Pacific is the first Exposition to make horse racing an outstanding feature of its activities. About $227,000 was set aside to be distributed in handsome purses and stakes for the events. A $20,000 trotting and a $20,000 pacing stake was put up for each meeting, with other sums ranging from $1,000 to $5,000. The four stakes of $20,000 each are the largest ever offered in any light-harness event, and insured entries of the highest class.

The race track is situated near the athletic stadium, and commands an unsurpassed view of the San Francisco Bay, together with the Marin County heights and the entrance to the Golden Gate. The grandstand seats thirty-five thousand spectators. The course, under scientific preparation for several months, was put in fine shape. The length of the lap is one mile.

One of the biggest golf events ever staged in this country was successfully managed by the Exposition. Five weeks of sport on the links around the bay counties, including high-class exhibitions by both men and women, were in the plans of the committee. Events included both professional and amateur contests, and seldom, if ever before, had a community of the size of San Francisco maintained so continuous an interest in the sport. Valuable prizes and trophies were offered for the different events of the programme. Handsome cups and medals were granted amateurs, while professionals were tendered purses of generous proportions.

Perhaps the banner event of the tournament was the amateur championship for men played on the course of the Ingleside Golf and Country Club. Players of international reputation were entered in this event, and as a result, the play offered sensation after sensation. The tournament was won by Harry Davis, of the Presidio Golf Club, after a struggle in which he eliminated such stars as Chick Evans, H. Chandler Egan, Heinrich Schmidt, and Jack Neville. Davis met Schmidt in the finals of the event and won only after a dazzling exhibition of driving and putting such as has seldom been seen on a California course.

In addition to the men's championships, the women were in the limelight for a week. Miss Edith Chesebrough won the finals of the first flight play over Mrs. H. T. Baker. Mixed foursomes, events for professionals, driving, putting, and approaching contests were all included upon the programme, with gratifying results.

Yachting was granted an appropriate position upon the calendar, the races scheduled including yachts, sloops and motor boats upon San Francisco Bay and the ocean waters in the neighborhood of the Farallones. Perhaps the biggest event upon the programme is to be the International Regatta scheduled for August 1st to 31st, an event intended to bring into competition practically every type of racing craft afloat. This has brought attractive entries from both Eastern and Pacific clubs.

Special events were also arranged. A schooner race, with a course starting from a point on the bay off the Exposition and extending to the Farallone Islands, is one of them. Perhaps the most attractive of these events, however, will be the long-distance race for yachts from New York to San Francisco. The boats are to sail along the Atlantic seaboard, reaching San Francisco via the Panama Canal. Several entries for this contest have already been filed, and it is expected that by the time set for the start, a first class field will be ready to weigh anchor. Handsome cups, furnished by the Exposition for winners in the different nautical events, include many valuable trophies.

Boxing, the professional phase of which was recently abolished by an act of the California legislature, found an important place upon the Exposition programme. Amateur events staged at the Civic Auditorium excited great interest. By a special arrangement with the Amateur Athletic Union, the Exposition management obtained the national winners of Boston for the San Francisco tournament. Accordingly, the best of the country's amateur glove crop exhibited their wares to big galleries. In the matter of championships, California and the Pacific Northwest obtained the chief honors, several of the Eastern ring stars falling by the wayside in their work.

Not to be found wanting in the completeness of their scheme, the Exposition directors are still busy with plans which promise many events of unusual attractiveness for the Fall. It is hinted that the winner of the world's baseball series, waged between the National and American leagues, will be brought to the Coast for an exhibition series in October, to play against an all star team. Other phases of sport during the Exposition period include rowing, lawn tennis, handball and certain types of football, though disagreements between the two largest universities of the Coast have made the autumn sport an uncertain quantity.

XX.

The Joy Zone

A mile of amusement places, many of which are really educational—The Panama Canal, Grand Canyon, Yellowstone Park and the native villages— "The 101 Ranch"—"Toyland Grown Up"—Other notable features.

The Joy Zone, nearly a mile in length, is a broad avenue bordered with closely packed places of amusement. There are more than one hundred concessionaires, with two hundred and twenty buildings devoted to refreshment or pleasure, including a few in other places on the grounds. Here are all sorts of divertissements, from roller coasters to really great educational sights like the Panama Canal or the Grand Canyon.

By common consent the Panama Canal is the most noteworthy feature of the Zone. Indeed, it ought not to be on the Zone. It should have had a place in the Exposition proper, as one of its finest exhibits. The show is a working reproduction of the Panama Canal, on so large a scale that it covers five acres. The landscape of the Canal Zone is faithfully reproduced, with real water in the two oceans, the Gatun Lake, the Chagres River and the Canal. The visitor sees it from cars which travel slowly around the scene, and which are fitted with telephonic connections with a phonograph that explains the features of the Canal Zone as the appropriate points are passed. Next to seeing the Canal itself, a sight of this miniature is the most interesting and instructive view possible of the great engineering feat. In one way it is even better than a trip through the Canal. It gives the broad general view impossible from any point on the Isthmus itself.

In much the same class are the reproductions of the Grand Canyon and the Yelllowstone Park. The Grand Canyon has an added interest in the presence of Navajo and Hopi families living in reproductions of their desert homes. Representing other native races, there are the Samoan Village, the Maori Village, and the Tehuantepec Village. All these people are genuine and live in primitive style on the Zone, though, to tell the truth, they are quite likely to use college slang and know which fork to use first. Not on the Zone, but proper to be mentioned here, are the Blackfoot Indians brought to the Exposition from Glacier Park by the Great Northern Railroad. Eagle Calf is a real chief of the old days, and his band is a picturesque group.

There is Toyland Grown Up, a product of the astonishing genius of Frederic Thompson, creator of Luna Park, covering nearly twelve acres and packed with Thompson's whimsical conceptions of the figures of the Mother Goose Tales, Kate Greenway's children, and soldiers and giants, and the familiar toys of the Noah's Ark style-all on a gigantic scale. Japan Beautiful, a concession backed by the Japanese Government, has many interesting features, including the enormous gilded figure of Buddha over the entrance and a reproduction of Fujiyama in the background. Then there is an Antarctic show entitled "London to the South Pole;" the Streets of Cairo; the Submarines, with real water and marine animals; Creation, a vast dramatic scene from Genesis; the Battle of Gettysburg; the Evolution of the Dreadnaught; and many other spectacles and entertainments of many classes, but all measuring up to a certain standard of excellence insisted upon by the Exposition. The Aeroscope, a huge steel arm that lifts a double decked cabin more than two hundred and fifty feet above the ground and then swings it around in a great circle over the Zone, is one of the thrillers.

The Joy Zone has suffered from the excellence of the Exposition to which it is the side-show. The Exposition itself is so wonderful a sight and contains so vast a number of remarkable and interesting things that multitudes have been content to stay with it, too much engrossed to find time for any but a few of the best things on the Zone. No better evidence could be found of the beauty, interest and value of this Exposition.

Appendix

(A) Sculptures and Mural Paintings

The following lists give the titles, locations and names of artists of the Exposition Sculptures and Mural Paintings. They do not include work exhibited in the Palace of Fine Arts, or in the state or foreign buildings, but only those which were designed for the adornment of the Exposition palaces, courts, and gardens.

The lists also index all matter and illustrations describing or showing this "Exposition art." Figures in light-face type refer to pages in the text; those in black-face type, to illustrations.

I. Sculptures.

South Gardens.—Two Mermaid Fountains, by Arthur Putnam (21, 84, 99); Fountain of Energy, by A. Stirling Calder (83, 47).

Palace of Horticulture—Figures at bases of spires, by Eugene Louis Boutier; Pairs of Caryatids, by John Bateman (21).

Festival Hall.—The Torch Bearer (on domes), Bacchus, The Listening Woman, Flora and Pan, Flora and Dreaming Girl, Figures on cartouche over entrance, all by Sherry E. Fry (26, 26, 32).

Tower of Jewels.—Cortez (east side of arch), by Charles Niehaus (46, 48); Pizarro (west side of arch), by Charles C. Rumsey; Priest, Soldier, Philosopher and Adventurer, by John Flanagan (46, 44); Armored Horseman (on terrace of tower), by F. M. L. Tonetti (46); Fountain of Youth, by Edith Woodman Burroughs (49, 84, 89, 53); Fountain of El Dorado, by Gertrude Vanderbilt Whitney (49, 84, 89, 54).

Palace of Varied Industries.—Man with a Pick, Tympanum group of Varied Industries, New World Receiving Burdens of Old, Keystone figure, Power of Industry, all by Ralph Stackpole (33, 37, 132); Victory (on the gables of all the central palaces), by Louis Ulrich (28, 18).

Palaces of Manufactures and Liberal Arts.—Frieze over Portals, Craftsmen, Woman with Spindle, Man with Sledgehammer, all by Mahonri Young (33).

Palace of Education.—Typanum group, Education, by Gustav Gerlach (34, 132); Panel, Male Teacher, by Cesare Stea; Panel, Female Teacher, by C. Peters (34).

West Facade of Palace Group.—Thought (on columns flanking half domes), by Ralph Stackpole; The Triumph of the Field, by Charles B. Harley; Abundance, by Charles R. Harley; Ex Libris (half dome of Education), by Albert Weinert; Physical Vigor (half dome of Food Products), by Earl Cummings; Vestibule Fountains, by W. B. Faville (all on p. 34, 35).

North Facade of Palace Group.—The Conquistador and The Pirate, both by Allen Newman (35, 43, 44).

East Facade of Palace Group.—The Miner, by Albert Weinert (35).

Column of Progress.—The Adventurous Bowman, by Herman A, MacNeil (56, 61, 57); The Burden Bearers (frieze at base of group), by Herman A. MacNeil (61); Frieze of Progress (frieze on pedestal), by Isidore Konti (61, 60).

Court of the Universe.—Nations of East and West (on arches), by A. Stirling Calder, Leo Lentelli and Frederick G. R. Roth (52, 65, 63, 59).

Genii on Columns, by Leo Lentelli; Pegasus Spandrels, by Frederick G. B. Roth; Medallions, by B. Bufano and A. Stirling Calder; The Stars, by A. Stirling Calder; Signs of the Zodiac, by Herman A. MacNeil (all on p. 52).

Fountains of the Rising and the Setting Sun, by A. A. Weinmann (52, 90, 63, 69); The Elements, Earth, Air, Fire and Water, by Robert Aitken (52, 64); Music and Poetry, by Paul Manship (52).

Court of the Ages.—Fountain of the Earth, by Robert Aitken (65, 66, 72, 91-5, 70, 73); Columns of Earth and Air, by Leo Lentelli (66, 67); Ages of Civilization (on Altar) and Thought (on side altars), by Chester Beach (66, 67, 70); Primitive Man, Primitive Woman, and The Hunter (on arcades), by Albert Weinert (66); Modern Time Listening to the Story of the Ages (in North Court), by Sherry E. Fry (67, 72).

Court of Seasons.—The Harvest (on half dome), by Albert Jaegers; Rain and Sunshine (on columns), by Albert Jaegers; Feast of the Sacrifice (on pylons), by Albert Jaegers (76, 79); Fountain groups, The Seasons, by Furio Piccirilli (75-6, 90-1, 94); Attic figures of Abundance, and spandrels, by August Jaegers; Fountain of Ceres (forecourt), by Evelyn Beatrice Longman (77, 91, 79).

Court of Flowers.—The Pioneer, by Solon Borglum (81, 97); Fountain of Beauty and the Beast, by Edgar Walter (81, 95, 100); Flower Girls (in niches), by A. Stirling Calder (87, 100); The Fairy (above Italian towers), by Carl Gruppe; Lions, by Albert Laessle.

Court of Palms.—The End of the Trail, by James Earle Fraser (82, 96); Caryatids (on attic), by A. Stirling Calder and John Bateman; Spandrels (over portals), by Albert Weinert.

Palace of Machinery.—Genius of Creation, by Daniel Chester French (98, 147); Steam Power, Electricity, Imagination, Invention; Friezes, Genii of Machinery; Reliefs on bases of columns, Application of Power to Machines; all by Haig Patigian (97, 111); Eagles, by C. H. Humphries (97).

Palace of Fine Arts.—The Weeping Woman (on colonnade flower boxes), by Ulric H. Ellerhusen (102, 113); The Struggle for the Beautiful (three panels repeated on attic of Rotunda), by Bruno Louis Zimm (102, 114); Figures between panels, by Ulric H. Ellerhusen; Venus, Altar of Inspiration, by Ralph Stackpole (103, 197); Frieze of Genius (on Altar), by Bruno Louis Zimm; the Priestess of Culture (in Rotunda), by Herbert Adams (103); Aspiration (over main portal), by Leo Lentelli; Decorations on Flower Receptacles, by Ulric H. Ellerhusen (103).

II. Mural Paintings.

Tower of Jewels.—West panel—Joining of Atlantic and Pacific, center; Discovery, left; Purchase, right. East panel—Gateway of All Nations, center; Labor Crowned, left; Achievement, right; all by William de Leftwich Dodge (46, 53).

Arch of the Nations of the East.—South panel—The Western March of Civilization; North panel—Ideals Attending Immigration; both by Edward Simmons (55-6).

Arch of the Nations of the West.—North panel—Pioneers Leaving for the West; South panel—Pioneers Arriving on Pacific Coast; both by Frank Vincent Du Mond (56, frontispiece).

Court of the Ages.—Earth, two panels (northwest corner of corridor); Air, two panels (southwest corner of corridor); Water, two panels (southeast corner of corridor); Fire, two panels (northeast corner of corridor); all by Frank Brangwyn (67, 68, 71, 74).

Court of Seasons.—Art Crowned by Time (in half dome); Man Receiving Instruction in Nature's Laws (in half dome); Spring and Seedtime (two panels in corridor before niche of Spring); Summer and Fruition (two panels In corridor before niche of Summer); Autumn and Harvest (two panels in corridor before niche of Autumn); Winter and Festivity (two panels in corridor before niche of Winter); all by H. Milton Bancroft (75, 76).

Court of Palms.—Fruits and Flowers (lunette over entrance of Palace of Education), by Childe Hassam; The Pursuit of Pleasure (lunette over entrance of Palace of Liberal Arts), by Charles Holloway; The Triumph of Culture, sometimes called The Victorious Spirit (lunette over entrance of Court of Seasons), by Arthur Mathews (all on p. 82).

Rotunda, Palace of Fine Arts.—The Conception and Birth of Art, four panels alternated with four panels of the Golds of California. In order they are: The Birth of European Art, the Orange Panel, Inspiration in All Art, the Wheat Panel, the Birth of Oriental Art, Metallic Gold, Ideals in Art, the Poppy Panel; all by Robert Reid (103, 104).

(B) Statistics of Construction Work

Palace Size, feet Exhibit area Cost Mines and Metallurgy 451 x 579 5.75 acres $359,445 Transportation 579 x 614 7.25 acres $481,677 Agriculture 579 x 639 7.5 acres $425,610 Food Products 424 x 579 5.4 acres $342,551 Varied Industries 414 x 541 5. acres $312,691 Manufactures 475 x 552 5.35 acres $341,069 Liberal Arts 475 x 585 5.75 acres $344,180 Education 394 x 526 4.7 acres $425,610 Machinery 972 x 372 9. acres $659,665 Fine Arts 1100 x 186 5. acres $580,000 Horticulture 672 x 329 5. acres $341,000 Festival Hall seats 4000 $270,000 Tower of Jewels 435 feet high $428,000 Dome of Palace of Horticulture 185 feet high, 152 feet in diameter. Paved area within the Exposition grounds, 4,000,000 square feet, or 91.5 acres. At an average width of 40 feet, this is equal to nearly 20 miles of asphalt.

(C) The Exposition Roster

President.—Charles C. Moore.

Vice-Presidents.—William H. Crocker, Reuben B. Hale, I. W. Hellman, Jr., M. H. de Young, Leon Sloss, James Rolph, Jr.

Secretary.—Rudolph J. Taussig.

Treasurer.—A. W. Foster.

Board of Directors.—John Barneson, M. J. Brandenstein, John A. Britton, Frank L. Brown, George T. Cameron, Philip T. Clay, William H. Crocker, R. A. Crothers, M. H. de Young, A. I. Esberg, Charles S. Fee, H. F. Fortmann, A. W. Foster, H. B. Hale, I. W. Hellman, Jr., Homer S. King, Curtis H. Lindley, P. H. McCarthy, James McNab, Charles C. Moore, Thornwell Mullally, Dent H. Robert, James Rolph, Jr., A. W. Scott, Jr., Henry T. Scott, Leon Sloss, Charles S. Stanton, Rudolph J. Taussig, Joseph S. Tobin.

Executive Staff.—Director-in-Chief, Frederick J. V. Skiff; Director of Works, Harris D. H. Connick; Director of Exhibits, Asher Carter Baker; Director of Exploitation, George Hough Perry; Director of Concessions and Admissions, Frank Burt.

Architectural Commission.—George W. Kelham, San Francisco, Chief of Architecture; Willis Polk, William B. Faville, Clarence H. Ward, and Louis Christian Mullgardt, San Francisco; Robert Farquhar, Los Angeles; McKim, Mead & White, Carrere & Hastings, and Henry Bacon, New York. Associate Architects: Arthur Brown, Jr., G. Albert Lansburgh, Bernard R. Maybeck, San Francisco.

Division of Works.—Director, Harris D. H. Connick; Assistant Director of Works and Chief of Department of Construction, A. H. Markwart; Chief of Architecture, George W. Kelham; Chief, Department of Sculpture, K. T. F. Bitter; Acting Chief, A. Stirling Calder; Chief, Department of Color and Decoration, Jules Guerin; Chief, Department Civil Engineering, E. E. Carpenter; Chief, Mechanical and Electrical Engineering, Guy L. Bayley; Chief, Department of Illumination, W. D'A. Ryan; Chief, Department of Landscape Gardening, John McLaren.

Division of Exhibits.—Director, Asher Carter Baker; Chief, Department of Fine Arts, John E. D. Trask; Assistant Chief, Department of Fine Arts, Robert B. Harshe; Chief, Department of Education and Social Economy, Alvin E. Pope; Chief, Department of Liberal Arts, Theodore Hardee; Chief, Department Manufactures and Varied Industries, Charles H. Green; Chief, Department of Machinery, George W. Danforth; Chief, Department of Transportation, Blythe E. Henderson; Chief, Department of Agriculture, Thomas G. Stallsmith; Chief, Department of Live Stock, D. O. Lively; Assistant Chief, Department of Live Stock, I. D. Graham; Chief, Department of Horticulture, G. A. Dennison; Chief, Department of Mines and Metallurgy, C. E. van Barneveld.

Other Department Heads.—Traffic Manager, Andrew M. Mortensen. General Attorney, Frank S. Brittain. Commandant of Exposition Guards, Captain Edward Carpenter, U. S. A. Director of Congresses, James A. Barr. Director of Music, George W. Stewart. Director of Special Events, Theodore Hardee. Chief of Special Events, Rolls E. Cooley. Chairman of Music Committee, J. J. Levison.

California State Commission.—Governor Hiram W. Johnson, ex officio; Matt I. Sullivan, President, San Francisco; Chester H. Rowell, Fresno; Marshall Stimson, Los Angeles; Arthur Arlett, San Francisco. Commissioner General, W. D. Egilbert. Secretary, F. J. O'Brien. Controller, Leo S. Robinson.

Woman's Board of the Exposition.—Honorary President, Mrs. Phoebe A. Hearst; President, Mrs. F. G. Sanborn; Vice-Presidents, Mrs. Lovell White, Mrs. I. Lowenberg, Mrs. W. H. Taylor, Mrs. John F. Merrill, Mrs. Frank L. Brown, Mrs. Irving M. Scott; Secretary, Mrs. Gaillard Stoney; Treasurer, Mrs. P. E. Bowles; Assistant Treasurer, Mrs. E. R. Dimond; Auditor, Mrs. Charles W. Slack. Directors, Mrs. Edson F. Adams, Mrs. Frank B. Anderson, Mrs. P. E. Bowles, Dr. Marian Bertola, Mrs. Frank L. Brown, Mrs. Aylett R. Cotton, Mrs. Francis Carolan, Mrs. Edwin R. Dimond, Mrs. Joseph A. Donohoe, Mrs. Joseph D. Grant, Mrs. Reuben B. Hale, Mrs. P. C. Hale, Mrs. Phoebe A. Hearst, Mrs. I. W. Hellman, Jr., Mrs. C. Edward Holmes, Mrs. John Johns, Mrs. Henry Krebs, Mrs. Jesse N. Lillenthal, Mrs. I. Lowenberg, Miss Laura McKinstry, Mrs. John F. Merrill, Mrs. Robert Oxnard, Mrs. Horace D. Pillsbury, Mrs. George A. Pope, Mrs. F. &. Sanborn, Mrs. Henry T. Scott, Mrs. Laurence Irving Scott, Mrs. William T. Sesnon, Mrs. Ernest G. Simpson, Mrs. Charles W. Slack, Mrs. M. C. Sloss, Mrs. Gaillard Stoney, Mrs. William Hinckley Taylor, Mrs. William S. Tevis, Mrs. Lovell White, Mrs. Edward Wright.

Foreign Commissioners

Argentina.—Horacio Anasagasti, Resident Commissioner General; Alberto M. D'Alkaine, Secretary.

Australia.—Alfred Deakin, Commissioner General, resigned; Niel Nielsen, New South Wales; F. W. Hagelthorn, Victoria; F. T. A. Fricke, Victoria, Deputy Commissioner; J. A. Robertson, Queensland; George Oughton, Secretary.

Bolivia.—Manuel Vicente Ballivian, Commissioner General.

Canada.—William Hutchison. Canadian Exhibition Commissioner.

China.—Chen Chi, Resident Commissioner General; Allan S. Chow, Secretary.

Cuba.—General Enrique Loynaz del Castillo, Commissioner General; Dr. Amando Montero, Secretary.

Denmark.—Otto Wadsted, Resident Commissioner.

France.—Albert Tirman, Commissioner General; Jean Guyffrey, Secretary.

Guatemala.—Jose Flamenco, Resident Commissioner; Fernando Crux, Sec.

Honduras.—Antonio A. Ramirez F. Fontecha, Commissioner General; Fernando Somoza Vivas, Resident Commissioner.

Italy.—Ernesto Nathan, Commissioner General; Vito Catastini, Secretary.

Japan.—Haruki Yamawaki, Resident Commissioner General; Shinji Yoshino, Secretary.

Netherlands.—B. A. van Coenen Torchiana, Resident Commissioner.

New Zealand.—Edmund Clifton, Commissioner General; M. O'Brien, Sec.

Norway.—F. Herman Gade, Commissioner General; Birger A. Guthe, Sec.

Persia.—Mirza Ali Kuli Khan, Commissioner General.

Portugal.—Manuel Roldan, Commissioner General.

Siam.—James H. Gore, Commissioner General; A. H. Duke, Secretary.

Spain.—Count del Valle de Salazar, Representative.

Sweden.—Richard Bernstrom, Commissioner General; Herman Virde, Sec.

Turkey.—Vahan Cardashian, Imperial Adjutant High Commissioner.

Uruguay.—Eduardo Perotti, Commissioner General.

Commissioners From States and Islands

National Commission.—William Phillips, Chairman; Franklin D. Roosevelt, Judge W. B. Lamar; F. N. Bauskette, Secretary.

Arkansas.—F. B. T. Hollenberg, Commissioner General.

California.—Matt L Sullivan, President; W. D. Egilbert, Commissioner General; F. J. O'Brien, Secretary.

Hawaii.—R. P. Wood, Chairman.

Idaho.—Jay A. Czizek, Executive Commissioner.

Illinois.—Adolph Karpen, Chairman; Guy E. Cramer, Resident Executive; John G. Oglesby, Secretary.

Indiana.—S. P. Hamilton, Resident Commissioner.

Iowa.—W. W. Marsh, Chairman.

Kansas.—George H. Hodges, President; H. S. Dean, Secretary.

Maryland.—Roberdeau A. McCormick, Chairman; Robert J. Beachman, Sec.

Massachusetts.—Peter H. Corr, Chairman; Charles O. Power, Secretary.

Mississippi.—Isham Evans, Chairman; D. Ben Holmes, Secretary.

Missouri.—John L. McNatt, Chairman; Norman M. Vaughan, Secretary.

Montana.—David Hilger, Chairman; Frank A. Hazelbaker, Secretary.

Nevada.—George T. Mills, Commissioner.

New Jersey.—Robert S. Hudspeth, President; Charles F. Pancoast, Sec.

New York.—Norman E. Mack, Chairman; Daniel L. Ryan, Secretary.

North Dakota.—Governor L. B. Hanna, Chairman; Will E. Holbein, Sec.

Ohio.—D. B. Torpey, Resident Commissioner.

Oklahoma.—J. J. Dunn, Resident Commissioner; Mrs. Fred E. Sutton, Sec.

Oregon.—O. M. Clark, Chairman; George Ryland, General Manager.

Pennsylvania.—Martin G. Brumbaugh, President; A. G. Hetherington, Director in Charge; C. B. Carothers, Secretary.

Philippines.—Leon M. Guerrero, President; W. W. Barkley, Secretary.

Texas.—Mrs. Eli Hertzberg, Chairman; J. T. Bowman, Secretary.

Utah.—Glen Miller, Chairman; Mae Lail, Secretary.

Virginia.—W. W. Baker, Chairman; Alexander Forward, Secretary.

Washington.—John Schramm, President; Charles G. Heifner, Executive Commissioner.

West Virginia.—Paul Grosscup, Chairman; G. O. Nagle, Secretary.

Wisconsin.—John T. Murphy, Chairman; Arthur W. Prehn, Resident Commissioner; D. E. Bowe, Secretary.

(D) Bibliography

The Panama-Pacific Exposition presents so many aspects of public importance that it will doubtless inspire a considerable library of books upon its various features. Those heretofore published, however, agree in testifying to the unprecedented appeal which it makes on its artistic side; they have attempted little more than to describe the architecture of the main exhibit palaces, and interpret the Sculpture and murals which adorn them.

Of the titles given below, the first two volumes are wholly of this character. Mrs. James' little book has especial reference to the story told by the decorative Sculpture. The attractive Neuhaus volume is a more critical discussion of the Exposition art, as distinguished from exhibits in the Palace of Fine Arts, which are to be covered by Prof. Neuhaus' second book. To an outline of Exposition art, Mr. Cheney's booklet adds a brief, helpful account of the Fine Arts exhibit. Mr. Barry's more ambitious volume opens with an interesting chapter on the Exposition's inception and growth; the remainder of the text "is mainly devoted to the artistic features associated with the courts and the main palaces.".

The other books named describe and show "Exposition art."

Palaces and Courts of the Exposition, by Juliet James. 16mo., 151 pp.. including 32 illustrations. San Francisco, the California Book Co.

The Art of the Exposition, by Eugen Neuhaus. 8vo., 100 pp., with 32 ills. San Francisco, Paul Elder & Co.

An Art-Lover's Guide to the Exposition, by Sheldon Cheney. 12mo., 100 pp., including 20 ills. Berkeley, published by the author.

The City of Domes, by John D. Barry. 12mo., 142 pp., with 48 ills. San Francisco, J. J. Newbegin.

In the Court of the Ages (Poems), by Edward Robeson Taylor. 8vo., 33 pp., 7 ills. San Francisco, A. M. Robertson.

The Sculpture and Murals of the Panama-Pacific International Exposition, by Stella G. S. Perry. 12mo., 112 pp., including 47 ills. San Francisco, the Wahlgreen Co.

The Galleries of the Exposition, by Eugen Neuhaus. 8vo., 108 pp., with 30 ills. Paul Elder & Co.

The Sculpture of the Exposition Palaces and Courts, by Juliet James. 12mo., 32 ills. San Francisco, H. S. Crocker Co.

Index

In order not to overload this index with details which, for most readers, would render it inconvenient, only the more important Sculptures and murals among the "Exposition art" have been listed here, together with the different national and historical sections of the Fine Arts Palace, and the names of artists mentioned most frequently in the text. Fuller lists will be found on p. 130-133 (winners of grand prizes, medals of honor and gold medals in the Fine Arts Exhibit) and p. 194-5 (murals and Sculptures).

Figures in light-face type refer to pages in the text, those in heavier type to the illustrations.

Abbey, Edwin A., painter, 107, 115. Adams, Herbert, sculptor, 103, 104. "Adventurous Bowman, The," 56, 58. Agriculture, Palace of, 16; architecture and Sculpture, 35, 36, 51; exhibits, 146, 162. "Air" Sculpture by Aitken, 52; murals by Brangwyn, 67-71, 74. Aitken, Robert, sculptor, 52, 72, 91. "Among the 'White Birch Trunks," 128, 126. Arabian Nights, Fountain of, 82. Arch, Tower of Jewels, 42, 51, 53. Arches of the Court of Seasons, 77. Arches of the Rising and the Setting Sun, architecture, 61; Sculpture, 52. 55; murals, 55, 56; frontispiece, 59, 63. Architects, Board of, 13. Architecture, main palace group, 27-36; Tower of Jewels, 49; Court of the Universe, 51; Court of the Ages, 66-7; Court of Seasons, 76; Court of Flowers and Palms, 78; Palace of Machinery, 96; Fine Arts, 101-2. Argentina, appropriates $1,700,000 for its representation at P. P. I. E., 14; Fine Arts exhibit, 129, 131; forestry exhibit, 153; pavilion, 154, 156, 169. Arkansas, building, 176. Australia, Fine Arts exhibit, 131; pavilion, 155. 148. Autumn, Fountain of, 76, 91. Avenue of Palms, 16, 18. Aviation, 151, 188, 17, 192. Awards in Fine Arts exhibit, 130-133. Bacon, Henry, architect, 13, 75. Bancroft, H. Milton, mural painter, 75, 76. Baths of Caracalla, 96. Beach, Chester, sculptor, 66. Beachey, Lincoln, aviator, 161. "Beauty and the Beast," Fountain of, 81; described, 95, 100. Belgium, exhibits in French Pavilion, 108, 164. Bennett, Edward H., architect, plan for Exposition, 13. Bitter, Karl T. F., chief of Sculpture, 14. 104, 110. Blank Walls, use of in Exposition architecture, 28. Bolivia, pavilion, 156. Borglum, Solon, sculptor, 81. Boston Symphony Orchestra, 142-145. Brangwyn, Frank, painter, 67-71, 82; etchings, 110. Brown, Arthur, architect, 13. Burbank, Luther, exhibitor, 153. Burroughs, Edith Woodman, sculptor, 49, 89. Byzantine architecture, 27, 28. Calder, A. Stirling, sculptor, 52, 55, 61, 81, 83, 84. California, votes $5,000,000 bonds for Exposition, 13; Counties raise $2,500,000, 14; Mining exhibit, 150; building, 171, 179, 182. Canada, pavilion, 156, 161, 148. Ceres, Fountain of, 77, 91, 79. Chase, William M., painter, 117. Chicago, exhibit, 175. China, Fine Arts exhibit, 109, 127, 128, 132; industrial exhibits, 152; pavilion, 161, 162. Color of Exposition palaces, 36-41. Column of Progress, 16, 36; description, 50, 51, 56, 61, 57, 58; frieze, 61, 60; night illumination, 140. See also "Adventurous Bowman." "Cortez," 46, 48. Cortissoz, Royal, art critic, quoted, 140. Court, key to the palace group, 50. Court of Abundance, see Court of the Ages. Court of the Ages (or Court of Abundance), 16; its gardens, 20; architecture, Sculpture, and symbolism, 65-72, 70; Fountain of Earth, 72, 73; Brangwyn's murals, 67, 68, 71, 74; night illumination, 139, 140. Court of Flowers, 16; Garden in, 20; Portals, 34; architecture, Sculpture and gardening, 78, 81, 82, 95, 85; Fountain of "Beauty and the Beast," 81, 100; "The Pioneer," 81, 87. Court of Palms, 16; Portals, 34; architecture, Sculpture and gardening, 78, 81, 82, 95, 88, 93; "The End of the Trail," 82, 86. Court of Seasons, 16; architecture, Sculpture and murals, 75-77; night illumination, 139, 140, 79, 80, 94. Court of the Universe, 16; its gardens, 20; its coloring, 39; architecture, Sculpture and murals, 50-62; inscriptions, 62; night illumination, 139, 140. Coxhead, Ernest, architect, prepares first plans for Exposition, 14. Crocker, W. H., vice-president of the Exposition, 197. Cuba, rare trees and plants in Palace of Horticulture, 22, 25; Fine Arts exhibit, 122, 127, 132; industrial exhibits, 152; horticultural exhibit, 153; pavilion, 162. Deniville, Paul, his Imitations of travertine, 40, 96. Denmark, paintings, 108; pavilion, 162. De Young, M. H., vice-president of the Exposition, 197. Dodge, William de Leftwlch, mural painter, 46, 49. Du Mond, F. V., painter, 55, 56, 118. Duveneck, Frank, painter, 117. Earth, Fountain of, 66, 67, 72; symbolism of, 91, 92; Illumination, 95, 70, 73. "Earth," Sculpture by Aitken, 52, 64; murals by Brangwyn, 67-71. Education and Social Economy, Palace of, 16; architecture and Sculpture, 34, 35; exhibits in, 152, 138. El Dorado, Fountain of, 49, 84, 89, 54, "Elements," Sculptures by Aitken, 52, 64; murals by Brangwyn, 67-71, 74. Ellerhusen, Ulric, sculptor, 102, 103. "End of the Trail, The," 81, 82, 86. Energy, Fountain of, 56, 83-4, 47. Esplanade, 19. Etching, 121, 122, Fairy Tales, 82, Farquhar, Robert, architect, 13, 25. Faville, Wm. B., architect, 13, 27, 35. "Feast of the Sacrifice, The," 76, 79. Festival Hall, 16; architecture and Sculpture, 25, 26; organ, 26; music in, 141-5; organ an exhibit, 152; views of, 29, 82. Fine Arts, Palace of, relation to Exposition's architectural plan, 16, 36; architecture and Sculpture, 101-103; murals, 103, 104; statuary in rotunda and colonnade, 104, 130; should be preserved in Golden Gate Park, 104, 107; The Annex, 107, 109; night illumination, 140, 112, 113, 114, 119, 137. Fine Arts exhibit, 107-130; mainly contemporaneous, 107-8; great extent of the collection, 108; American art, 108-9; unexpected foreign representation, 109; the Futurists, 110; the United States section, 110, 115-122; Historical section, 110-115; Foreign sections, 122-130; awards of grand prizes, medals of honor, and gold medals, 130-3. "Fire," Sculpture by Aitken, 52, 64; murals by Brangwyn, 66-71. Fisheries, 163. Flanagan, John, sculptor, 46. "Flower Girl," 81, 100. Food Products, Palace of, 16; architecture and Sculpture, 34, 35; exhibits, 146, 153, 119. Forestry, 152, 155, 156, 177, Foster, A. W., treasurer of the Exposition, 197. Fountain of "Beauty and the Beast," 81, 95, 100. Fountain of Ceres, 77, 91, 79. Fountain of Earth, 66, 67, 72; symbolism of, 91, 92; Illumination of, 95, 70,73. Fountain of El Dorado, 49, 84, 89, 54. Fountain of Energy, 16; described, 83, 84, 47. Fountains of the Rising and the Setting Sun, 52, 90, 63, 69. Fountains of the Seasons, 75, 76, 90, 91; fountain of Summer, 94. Fountain of Youth, 49, 84, 89, 53. Fountain, The Mermaid, 84, 99. France, Fine Arts exhibit, 107, 108, 109, 110, 122-124, 130; pavilion, 162, 163, 164, 157, 158. Fraser, James Earle, sculptor, 82. French, Daniel C., sculptor, 98, 110. Frieseke, Frederic C., painter, 118, 121. Fry, Sherry E., 26. Futurists, The, 110. Gallen-Kallela, Axel, painter, 110. "Genius of Creation, The," 98, 147. Gerlach, Gustav, sculptor, 34. Germany, Fine Arts exhibit, 109, 129, 132; industrial exhibits, 151, 152. Grafly, Charles, 104. Great Britain, Fine Arts exhibit, 109, 115; industrial exhibits, 151. Greece, pavilion, 164. Greek architecture, 27, 78. Guatemala, pavilion, 161. Guerin, Jules, chief of color, 14; color scheme, 36-41, 49, 121. Hale, R. B., proposes Exposition, 11; vice-president, 197. Hassam, Childe, painter, 82, 117. Hastings, Thomas, architect, 13. Hawaii, exhibits, 153; building, 177. Hearst, Mrs. Phoebe A., 171. Hellman, I. W., Jr., vice-president of the Exposition, 197. "High Tide: Return of the Fishermen," 124, 125. Holloway, Charles, painter, 82. Honduras, pavilion, 161. Hoo Hoo, House of, 25. Horticulture, Palace of, 16; architecture and Sculpture, 21, 22; Cuban display, 22, 25; exhibits in, 153; view of, 24. Hungary, Fine Arts exhibit, 109, 132. Idaho building, 176. Illinois, building, 175, 180. Illumination, 95, 134-140, 37, 135, 137, 192. Impressionists, 110, 116. Indiana, building, 175. Inscriptions, on Tower of Jewels, 45, 46; In Court of the Universe, 61, 62; In Court of the Seasons, 77. Iowa, building, 175. Italian fountains, 35. Italian towers, 28, 18. Italy, Fine Arts exhibit, 107, 108, 109, 110, 122, 124, 127, 132; industrial exhibits, 151; pavilion, 164, 165, 159. Jaegers, Albert, sculptor, 76. Jaegers, August, sculptor, 76. Japan, Fine Arts exhibit, 109, 122, 132, 133; Mining exhibit, 150; industrial exhibits, 151, 152; pavilion, 165, 166, 169. Joy Zone, outlay of concessionaires, $10,000,000, 14, 16; described, 193-4. Kansas, building, 176. Keith, William, painter, 107, 117. Kelham, George W., architect, 13; describes co-operative plan of Exposition, 15; Courts of Flowers and Palms, 78. Konti, Isidore, sculptor, 56, 61. Ladd, Anna C., sculptor, 130. Lafayette, statue of, 104, 130, 114. Landscape Gardening, Importance in Exposition plan, 19, 20. Lemare, Edwin H., organist, 143, 145. Lentelli, Leo, sculptor, 55, 81, 104. Levison, J. B., head of music committee, 141, 142. Liberal Arts, Palace of, 16; architecture and Sculpture, 33, 34; exhibits in, 146, 150, 151; view of, 38. Lighting of Exposition, 134-140. Lincoln, Abraham, statue of, 130; relics in Illinois building, 175. "Listening Woman," 26, 32. Live-Stock exhibit, 16; classes and awards, 178-185. Longman, Evelyn Beatrice, sculptor, 77, 91. Machinery, Palace of, ground broken for, 14; relation to Exposition's architectural plan, 16, 36; architecture and Sculpture of, 96-98; exhibits in, 146, 149, 150; views of, 105, 106, 111. MacNeill, H. A., sculptor, 52, 56, 61. "Man with a Pick," 33. McKim, Mead and White, architects, 13, 51. McLaren, John, chief of landscape engineering, 14; Importance of his gardens in the Exposition scheme, 19, 20; his gardening conforms to color scheme, 41. Manufactures, Palace of, 16; architecture and Sculpture, 33, 34; exhibits in, 146, 151. Maryland, building, 174. Massachusetts, exhibits, 152; building, 173, 181. Mathews, Arthur F., painter, 82, 117. Maybeck, Bernard B., architect, 13, 25, 101, 102. Mermaid Fountain, 84, 99. Mines and Metallurgy, Palace of, 16; architecture and Sculpture, 35, 36; exhibits in, 150. Miniatures, Fine Arts exhibit, 121, 122. Mississippi, building, 174. Missouri building, 175, 176, 180. Montana, Mining exhibit, 150; building, 176. Montessori, Maria, educator, 152. Moore, C. C., president of the Exposition, 141, 197. Moorish domes, 27; towers, 28. "Mother of the Dead," 130, 120. Motion Pictures, used for exhibition purposes, 146, 149. Muck, Karl, director of Boston Symphony Orchestra, 143. Mullgardt, Louis Christian, architect, 13, 65-67, 72. Munch, Edvard, painter, exhibit in Fine Arts Annex, 109. Mural paintings, see list in Appendix, pp. 195, 196. Music at the Exposition, 141-5. Nations of the East and West, Arches of, 52, 55, 59, 63. Netherlands, The, Fine Arts exhibit, 109, 130, 133; Industrial exhibits, 152; horticultural exhibit, 153; pavilion, 166, 157. Nevada, building, 176. New Jersey, building, 173, 174. Newman, Allen, sculptor, 35. New Orleans, 13. New York City, building, 173. New York State, appropriates $1,000,000 for its representation at P. P. I. E., 14; building, 172, 173, 170. New Zealand, exhibits, 152, 153; forestry exhibit, 153; pavilion, 167. Niehaus, Charles, sculptor, 46. North Dakota, building, 176. Norway, Fine Arts Exhibit, 109, 133; pavilion, 167. Ohio, building, 174, 175. Oklahoma, building, 176. Oregon, exhibits, 152; building, 172, 191. Organ, in Festival Hall, 26, 141-5, 152; In Illinois building, 175. "Outcast, The," 130, 136. Palaces of main Exposition group, see Agriculture, Education, Food Products, Liberal Arts, Manufactures, Mines, Transportation, Varied Industries, Machinery, and Fine Arts. Panama, pavilion, 161. Panama Canal, the motive of the Exposition, 11, 28; reproduction of 193. Panama-Pacific Exposition; motive and planning, 11; first suggested, 11; plans interrupted by fire of 1906, 12; Exposition Company formed and subscriptions begun, 12; California and San Francisco vote bonds, 13; San Francisco wins Congressional approval, 13; national aid not asked, 13; site selected, 13; President Taft breaks ground, 13; Board of Architects appointed, 13; Ground Plan perfected, site prepared and work begun, 14; Exposition ready on time, 14; cost, $50,000,000, 14; Ground plan described, 16-21, 27-41. Patigian, Haig, sculptor, 98. Pennell, Joseph, 122. Pennsylvania, building, 173, 181. Pennsylvania Railway station, New York, 96, 107. Philadelphia, exhibit, 152. Philippines, The, Fine Arts exhibit, 128, 133; forestry exhibit, 152, 153; building, 177. Piccirilli, Furio, sculptor, 75, 91. Piccirilli, Attilio, sculptor, 130. Pietro, C. L., sculptor, 130. Pine and Redwood Bungalows, 25. "Pioneer, The," 81, 87. "Pioneer Mother," 104. "Pirate, The," 35, 44. Polk, Willis, architect, 13. Portals: Palace of Varied Industries, 28, 33, 18, 37; Manufactures and Liberal Arts, 33, 34; Education, 34, 35, 138. Half-domes, Education and Food Products, 35; on north facade, 35, 43, 44; east facade, 35, 36; on interior aisle, 36; in Courts of Flowers and Palms, 82. Portugal, Fine Arts exhibit, 109, 128, 129, 133; building, 167. Press Building, 26. "Priest, The," 46, 44. Putnam, Arthur, 84. Pyle, Howard, painter, 121. Redfield, E. W., painter, 117. Reid, Robert, painter, 103, 104, 118. Richardson, Symmes, architect, 56. Rising and Setting Sun, Fountains of, 52, 90, 63, 69. Rodin, Auguste, sculptor, 163; his statue, "The Thinker," 158. Rolph, James, Jr., vice-president of the Exposition, 197. Roman architecture, 27, 51, 61, 96. Roth, Frederick G. R., sculptor, 55, 61. Rumsey, Charles C., sculptor, 46. Ryan, W. D'A., illumination expert, 14, 45, 134. Sabin, Wallace, organist, 142. Saint-Gaudens, Augustus, sculptor, 130. Saint-Saens, Camille, composer, 142-5. San Francisco, votes 5,000,000 bonds for Exposition, 13; raises total of $12,500,000, 14; wins fight for Congressional approval, 13. Sargent, John S., painter, 107, 117. Schumann-Heink, Mme., singer, 143. Scudder, Janet, sculptor, 130. Sculpture, exhibits In Fine Arts Palace and its Colonnade and Rotunda, 108, 110, 117, 124, 125, 130; "Exposition Sculpture," adorning the palaces, courts and gardens, see list in Appendix, pp. 195, 196. Seasons, Court of, see Court of Seasons; Fountains of, see Fountains. Setting Sun, see Rising and Setting Sun. Siam, pavilion, 167. Simmons, Edward, mural painter, 55, 56. Sloss, Leon, vice-president of the Exposition, 197. Smith, Arthur, aviator, 151, 188, 192. Sousa, John Philip, musical conductor, 143-5. South Gardens, 16; hedge of mesembryanthemuin, 19; flowers in, 20; description of South Gardens and their buildings, 21-26; view of, 23. Spain, Fine Arts exhibit, 109, 128, 132. Sports and games, Exposition contests and prizes, 186-190. Spring, Fountain of, 75, 76, 91. Stackpole, Ralph, 33, 34, 103. Stars, In Court of Universe, 51, 52. Stewart, G. W., musical director, 142. St. Louis, city, exhibit, 152. Summer, Fountain of, 76, 91, 94. Sweden, Fine Arts exhibit, 109, 128, 133; pavilion, 167, 168, 160. Taft, William H., breaks ground for Exposition, 12, 13. Tarbell, Edmund C., painter, 117. Taussig, Rudolph J., secretary of the Exposition, 197. Texas, building, 176. "Thinker, The," 158. Tiffany, Louis C., exhibit In Fine Arts Palace, 118. Tonetti, F. M. L., sculptor, 46. Tower of the Ages, 66, 67, 139, 70. Tower of Jewels, 16; central feature of main palace group, 28, 33; architecture and Sculpture, 42-49; Illumination, 42; "jewels," 45; historical significance, 42-49; epitomizes the Exposition art, 49; relation to Court of the Universe, 51; night illumination, 134, 139, 140; views of, 47, 135. Transportation, Palace of, 16; architecture and Sculpture, 35, 36, 51; exhibits in, 150, 151. Travertine, Artificial, material of Exposition palaces, 36, 39, 40, 77, 96, 107. Trumbull, Edward, painter, 173. Turkey, pavilion, 168. Twachtman, John H., painter, 117. Tympanum, Palace of Varied Industries, 33, 138; Education, 34, 138. United States, Fine Arts exhibit, 108-110, 115-118, 121, 131. United States Government exhibits, 150, 152, 153. Uruguay, Fine Arts exhibit, 122, 127, 133; Industrial exhibits, 152. Utah, Mining exhibit, 150; building, 177. Varied Industries, Palace of, 16; its architecture and Sculpture described, 28, 33, 36; exhibits, 146, 151. "Victory," crowning all gables of main palace group, 28, 18. Virginia Building, 174. "Walled City," main group of exhibition palaces, 15; architecture of, 27-36; material and color, 36-41. Walter, Edgar, sculptor, 81, 95. Ward, Clarence R, architect, 13, 96. Washington, state, exhibits, 153; building, 172, 191. Water colors, in Fine Arts exhibit, 121, 128. "Water," murals by Brangwyn, 67-71. Weinert, Albert, sculptor, 35. Weinmann, A. A., sculptor, 52, 90, 115. Weir, J. Alden, painter, 121. West Virginia, building, 174. Whistler, James McNeill, painter, 107, 117, 122. Whitney, Gertrude Vanderbilt, sculptor, 49, 82, 84, 95, 110. Winter, Fountain of, 76, 91. Wisconsin, building, 175. Wolf, Henry, etcher, 122, 130. Young, Mahonri, 33, 34. Youth, Fountain of, 49, 84, 89, 53. Young Women's Christian Association Building, 26. Zimm, Bruno Louis, 102, 103.