The City of Domes Part 9

Above the doorways we found the three murals that gave further distinction to this court and enriched the coloring. In "Fruits and Flowers" Childe Ha.s.sam had done one of his purely decorative pictures, without a story, contenting himself with graceful pictures and delicate color scheme. Charles Holloway made "The Pursuit of Pleasure" frankly allegorical, the floating figure of the woman pursued by admiring youths. Over the main doorway Arthur Mathews had also painted an allegory, "Victorious Spirit," the Angel of Light, with wide-spread wings of gold, standing in the center and keeping back the spirit of materialism, represented by a fiery horse driven by his rider with brutal energy. "Observe how successfully Mathews has chosen his colors.

These deep purples help to bring out the splendor of those golden tones.

This canvas is unquestionably one of the best of all the murals. It shows that in Mathews San Francisco has a man of remarkable talent, one of the great mural painters of the country."

On the way to the second half-court we had a chance to see the South Wall at close range, with its rich ornamented doorways, its little niches and fountains devised to make it varied and gay. Those little elephant heads were another sign of Faville's careful attention to ornamental detail. And the coloring gave warmth to the background, contrasting with the deep green of the planting.

At the Court of Flowers we met Solon Borglum's "Pioneer, too old to be typical, different from the man in l.u.s.ty middle age or in youth who came to California in the early days. But it justified itself by suggesting perhaps the greatest of the pioneers in old age, one who had grown with the community, the poet, Joaquin Miller. "It's Miller sure enough," said the architect, "even if the likeness isn't close. But why those military trappings on the horse? Like the rest of the pioneers, Joaquin was a man of peace."

The Court of Flowers we thought well named, both for its planting, McLaren at his best, and for its Italian Renaissance decoration, with that pretty pergola opening out on the scene, Calder's Oriental "Flower Girl" decorating the s.p.a.ces between the arches. And those lions by Albert Laessle were a fine decorative feature. The fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco, was one of the most original and decorative pieces of sculpture we had seen. The figure of the girl standing on the coils of the beast was remarkably well done and the water flowing over the bowl, with the pipes of Pan glimpsed underneath, made a charming picture. There was a whimsical and a peculiarly French suggestion in the use of the decorative hat and sandals on the nude figure. In detail those two towers at the end were slightly different from the other two. Like the others they served as a decoration of the wall, breaking the long lines."

XIII

Near Festival Hall

At close view we found the Festival Hall more interesting than it had seemed at a distance. It unquestionably had something of the elegance a.s.sociated with the best French architecture. But, unlike most of the buildings here, it did not develop out of a central idea. Much of its ornamentation seemed put on from the outside.

Of all the domes this dome impressed us as being the least interesting.

It did not even justify itself as being a means of giving abundant light. "This kind of architecture doesn't really belong in this country; but it seems to be making its way. Observe the waste of s.p.a.ce involved.

However, the curving arches on either side are rather charming. And the architect has succeeded in putting into the whole structure a certain amount of sentiment. In fact, throughout the whole Exposition you feel that the architects haven't worked merely for money or for glory. They have appreciated the chance of doing something, out of the commonplace."

The sculpture by Sherry Fry was evidently executed with the idea of festivity in mind, the "Bacchus" and "The Reclining Woman" and two "Floras" decorated with flowers, and "Little Pan," and "The Torch-bearer" reproduced above each of the smaller domes. But, somehow, those figures did not quite indicate the real character of the building, intended for concerts and lectures and conventions, rather serious business. The coloring, too, of the statues, was disappointing, the dull brown being out of key with the light green of the domes.

"In the smaller concert room upstairs, Recital Hall," said the architect, "there is some very fine stained gla.s.s; two windows, and on the landing of the north stairway there's a third window, all done by the man who has been called the Burne-Jones of America, Charles J.

Connick, of Boston. Instead of being hidden away there, they ought to have been put in the Fine Arts Building. They represent something new in the way of stained gla.s.s, and they have a wonderful depth and brilliancy."

As we drew near the Avenue of Progress we saw the magnificent doorway of the Varied Industries, overladen with ornamentation. "It was clever of Faville to put that doorway just in this spot where it would be seen by the crowds that entered by Fillmore Street. It comes from the Santa Cruz Hospital, in Toledo, Spain, built by the Spanish architect, De Egas, for Cardinal Mendoza, one of the most famous portals in Europe. The adaptation has been wonderfully done by Ralph Stackpole, with those figures of the American workman carrying a pick at either side and the semicircular panel just above the door and the group on top. That panel is one of the finest pieces of sculpture in the Exposition. It has tenderness and reverence. It's the kind of thing the mediaeval sculptors who worked on religious themes would have been enthusiastic over. See how simple it is, just a group of workers, with the emblems of their work, the women spinning with the lamb close by, the artist and the artisan, and the woman with the design of a vessel's prow in her hands, suggesting commerce. The single figure in the center is the intelligent workman who works with his hands and knows how to work, too. The group on top is a very pretty conception, the Old World Handing Its Burden to the Younger World, with its suggestions of the European people coming over here and raising American children."

XIV

The Palace of Machinery

On reaching the Avenue of Progress we found ourselves at the gayest corner of the Exposition, with two fine vistas of the two avenues. To our right stood the ma.s.sive Palace of Machinery, one of the largest buildings in the world, so successfully treated by the architect that it did not give the faintest suggestion of being c.u.mbersome or monotonous.

"It's the Baths of Caracalla in Rome," said the architect, "adapted by a master. Those three gables above the main entrance are taken directly from the baths. See how simple the ornamentation is and yet how satisfying. The building as a whole is a perfect example of old Roman architecture, feeling its way toward the big architectural principles that are in vogue today, among others the economical principle involved in the counteracting of thrusts. If the Roman Emperor who was nicknamed Caracalla on account of the hooded military tunic that he made fas.h.i.+onable in his day hadn't built those baths we should probably not have the glorious Pennsylvania station in New York, that some of the architectural authorities consider the most important building of its kind built in this country. Although the work here is all concrete, Clarence Ward, the architect, says that with care, it could last hundreds of years."

Now we were struck by those vigorous-looking figures, by Haig Patigian, that stood on top of the Sienna columns all evidently designed to express the power of machinery. At the entrance the reliefs of the columns were in the same spirit and, as one might have surmised, by the same sculptor working out the meaning of the buildings in designs that kept the contour of the columns, strong and well-modeled.

"There's distinctive character in this building," said the architect.

"It actually conveys the sense of tremendous energy, and by the simplest means. And inside, Ward has done something new and interesting."

When we entered we found the supports of the roof left bare. Instead of being unsightly, they had a kind of beauty and impressiveness. "Observe the magnificence of the s.p.a.ces here on the floor and up to the ceiling.

Some one asked Ward if all this height were necessary. He said it wasn't; but he wanted it for pictorial effect, to carry out the feeling of ma.s.siveness and splendor."

In the great figures that stood on the columns in front of the Palace of Machinery the architect found a theme for a discourse on the human figure as the chief inspiration of art. "It is possible that we shall change our minds on that subject," he remarked. "Already the world is showing a tendency to get away from the wors.h.i.+p of the body. Ever since the Christian era, of course, the physical has been deprecated. We may come to see that the body is useful as it develops and serves the spiritual, that is, as it subordinates itself. The marvel is that the pagan tradition has persisted so long in spite of the Christian influence. This Exposition shows how strong it remains."

"But what would you have in place of the human figure as the inspiration of art?" I asked.

"Oh, there are plenty of things that might take its place. Flower themes are just as beautiful in decoration as the shapes of men and women. I can conceive of the time when it will be considered uninteresting and commonplace to have human bodies used as a means of aesthetic display.

The self-glorification in it alone becomes wearying. We are gradually learning that the best we can do in life is to forget about ourselves and our old bodies. There are even those who go so far as to look forward to the time when we shall escape from our bodies altogether. It would be interesting, by the way, to get the point of view of a very spiritual Christian Scientist on the display here. I suppose that it would see good in the tendency to reach finer and n.o.bler conceptions of art according to our present understanding."

Then the architect proceeded to discuss the artistic superiority of the j.a.panese. Though they used the human figure in their art, they did not play it up, after the habit of the Western world. They did not make it seem to be of supreme importance. They conventionalized and subordinated it to outline and color. The use of the nude they never cultivated.

Their att.i.tude toward the body was characterized by discretion and modesty, qualities that they showed in their dress. You would never see a j.a.panese woman, for example, wearing a dress that conspicuously brought out the lines of her figure.

"On the other hand," the architect went on, "there's no doubt we've become absurdly prudish in this country. We're afflicted with shame of the body which, in itself, is unhealthy. If art can help us to get back to a more normal att.i.tude it will do a big service. All the more reason then why it should keep within reasonable bounds."

XV

The Court of the Ages

As we turned from the Avenue of Progress toward the Court of the Ages the architect said: "The workmen about here call this inner court 'Pink Alley,' not a bad name for it, though its real name is the Court of Mines. Throughout the Exposition Guerin shows that he is very fond of pink, probably on account of its warmth. He has been criticised for using it so much on the imitation Travertine for the reason that there is no stone of exactly this color. And yet there is pink marble. But even if there weren't any pink stone in the world, Guerin would be justified in his use of the color for purely decorative purposes, just as he was justified in using it on his four towers."

Inside the Court of the Ages the architect drew a long breath.

"In this court we architects feel puzzled. We think we can read new architectural forms like a book, and find that they are saying things repeated down the ages. But we can't read much here. In that lovely round arch there are hints of Gothic, and yet it is not a Gothic arch.

Throughout the treatment there are echoes of the Spanish, and yet the treatment is not Spanish. The more one studies the conception and the workmans.h.i.+p the more striking it grows in originality and daring.

Mullgardt has succeeded in putting into architecture the spirit that inspired Langdon Smith's poem 'Evolution,' beginning 'When you were a tadpole and I was a fish.' In the chaotic feeling that the court gives there is a subtle suggestiveness. The whole evolution of man is intimated here from the time when he lived among the seaweed and the fish and the lobsters and the turtles and the crabs. Even the straight vertical lines used in the design suggest the dripping of water. When you study the meaning of the conception you find an excuse for Aitken in flinging his mighty fountain into the center of all this architectural iridescence. He caught the philosophy of Mullgardt without catching the lightness and gaiety of the execution. In that fountain he has brought out the pagan conception of the sun, and he has used the notion that the sun threw off the earth in a molten ma.s.s to steam and cool down here and to bring forth those compet.i.tions between human beings that reveal the working of the elemental pa.s.sions. Aitken is material and hard, where Mullgardt is delicate and fine. How subtly Mullgardt has interwoven the feeling of spirituality with all the animal forces in man. That tower alone is a masterpiece. I know of no tower just like it in the world.

From every side it is interesting. And at night it is particularly impressive from the Marina."

The architect went on to explain something of the court's history. "When Mullgardt started to work out his plans he must have had in mind the transitional character of an exposition. He knew that he could afford to try an experiment that might have been impracticable if the court had been intended for permanency. He evidently was determined to cast tradition to the winds and to strike out for himself."

"I should think most architects would like to work in that way."

"The usual process is very different. As soon as an architect decides to design a building. he first chooses a certain type of architecture; then he saturates his mind with designs that have already been done along that line. Out of the ma.s.s of suggestions that he receives he is lucky if he evolves something more or less new. Often he merely re-echoes or he actually reproduces something that he is fond of or that has happened to catch his fancy. The chances are that Mullgardt will go down into history for his daring here. It isn't often that a man takes a big biological conception and works it out in architecture with such picturesqueness. It's never intrusive and yet it's there, plain enough for anyone to see who looks close. It represented a magnificent opportunity and Mullgardt was big enough to get away with it."

Then the architect told me the human story behind all this beauty as we wandered back into the center of the court and stood there. "Notice the incline," he said, "from the entrances? It reminds me that Mullgardt had originally intended to have the floor of the court like a sunken garden.

And remember that the name expresses the original idea. The Court of Abundance, that it is wrongly called, would have applied much better to the Court of Four Seasons. Well, after the notion came to Mullgardt to suggest in the court the development of man from the life of the sea to his present state as a thinking being, less physical than spiritual, he planned to build a court that should be the center of the pageants for the Exposition, where art should have its living representation in the form of processions and of plays, some of them written for the purpose.

In the sunken garden there should be plenty of room for the actors to move about, using it as a stage. There should also be room for the sculptured caldron that was to be an architectural feature and that later developed into Aitken's ma.s.sive evolutionary fountain. For the base of the tower there was designed a gorgeous semi-circular staircase, which was to serve as an entrance for the actors. Around the court there was to run an ornamental balcony, covered with a great canopy in red and gold, making an effect of Oriental magnificence. The people were to watch the spectacles from the balcony and from between the arches. In addition to the main tower, very like the present tower, but to contain a great pipe organ, there were to be two others, in the corner at right angles, to be called echo towers. The music of the organ was to be transmitted to the echo towers by wires and the echoes were to serve as a sort of accompaniment. The effect, if it had been managed right, would have been stunning."

"Mullgardt has kept the spirit of the pageant in his court," I said.

"Just as it is it would make an ideal setting, particularly for pageant with music, opera, for example."

"Of course," said the architect. "But the music ought not to come as it does now, from a band. It ought to come from the orchestra. Violins belong there. Put bra.s.s never!"

"Well, what happened to the pageant scheme?"

"Oh, when Mullgardt showed the preliminary sketches it was ruled out as too expensive. Then he removed the balcony and the staircase and, in place of the staircase, he introduced a cascade, keeping the rest of the court as it had been before. His idea was to use the water in the cascade only in a suggestive way. It was to be almost completely hidden by vines, after the manner of Shasta Falls, and to symbolize the mysterious appearance and disappearance of water that came from - one didn't know where. But that scheme was rejected, too, as too expensive.

However, Mullgardt accepted the situation. He was so interested that he worked out himself many of the details that most architects would have left to subordinates. He really cared enough to make the whole effect as close to perfection as he could. Everything he did he had a reason for doing. Not one thing here did he use gratuitously. He evidently doesn't agree with the idea that, in architecture, beauty is its own excuse for being; he wants to make it useful, too."

Then I was initiated into the details of the workmans.h.i.+p. "Observe how the ideas in the structure of the walls of the court are carried on in the ornamental details and in the tower." The primitive man and primitive woman repeated in a row along the upper edge had been finely conceived and executed by Albert Weinert. And the n.o.bility of outline in the tower was sustained by the three pieces of sculpture in front made by Chester Beach. That top figure some people believed to be Buddhistic in feeling. But it belonged to no particular religion. It stood for the Spirit of Intelligence. The ornamentation on the head was not an aureole, as bad been reported, but a wreath of laurel, symbolic of success. The group beneath was mediaeval, depicting mankind struggling for the light, expressed in the torches, through those conflicts that so pitifully came out of the aspirations of the soul, expressed in religion. The lowest group showed humanity in its elemental condition, related to the animal, close to the beasts. So, to be followed in sequence, the groups ought to be studied from the lowest to the highest, and then the eyes should be able to catch the meaning of the lovely ornamentation, crowning the tower, the petals of the lily, emblem of spirituality, the arrow-like spires above expressing the aspirations of the soul.