The picture to the left shows the grape-treaders, in the old-fashioned and unhygienic practice of crushing grapes by dancing on them in enormous vats. Others are seen gathering and delivering more grapes. As in the other picture, showing the harvest of fruit, more people are shown. Brangwyn never hesitates to use great numbers of people, which seem to give him no trouble whatever in their modeling and characterization.

Following on to the right, "Fire," represented as the primitive fire and as industrial fire, in two pictures, continues the scheme. That group of squatting woodmen carefully nursing a little fire is almost comical, with their extended cheeks, and one can almost feel the effort of their lungs in the strained anatomy of their backs. There does not seem to be anything too difficult for Brangwyn. "Industrial Fire" is interesting from the decorative note of many pieces of pottery in the foreground.

They seem to have come from the kiln which muscular men are attending.

"Water" is unusually graceful and delicate in its vertical arrangement of trees and the curve of the fountain stream, coming from the side of a hill. Women, children, and men have congregated, taking their turn in filling all sorts of vessels, some carried on their heads, some in their arms. Brangwyn's clever treatment of zoological and botanical detail is well shown in flowers in the foreground, such as foxglove and freesia, and the graceful forms of a pair of pinkish flamingoes. In the other panel of the same subject, a group of men on the sh.o.r.e are hauling in their nets.

The last of the four, "Air," represents this element in two totally different ways; the one on the left gives the more tender, gentle movement of this element, in the suggestion of the scent of the bowmen screened by trees, moving toward their prospective prey, while the other very bold composition is of a windmill turned away from the destructive power of an impending windstorm. In the foreground people are rushed along by gusts of wind, while children, unaware of the impending storm, are flying kites.

The masterful and varied treatment of these eight canvases show Brangwyn as the great painter he is known to be. We should rejoice to have such excellent examples of his brush permanently with us.

While not exactly belonging to the number of official decorations, Edward Trumbull's wall paintings in the unique Pennsylvania building are of great interest. Thoroughly dignified in their composition, they are most descriptive in their subject-matter. The "Pennsylvania Industries"

are on the west side and "Penn's Treaty with the Indians" on the other.

It is evident that Trumbull is a disciple of Brangwyn, though a personal note is not lacking in his work.

The tea-room of the California building harbors some mural decorations by Miss Florence Lundborg which the male part of the population can enjoy only by special invitation. I regret that they are not placed somewhere where the casual Exposition stroller can see them, because they are deserving of more attention than they are apt to receive. Miss Lundborg's artistic contributions have for many years been along the lines of decorations and in this big, well-composed figural scheme she discloses again a very fine, sympathetic understanding of the problems of a wall decoration. The color scheme is very refreshing and gives life to a large hall which has been endowed with unusual distinction by Miss Lundborg's art. A number of decorative floral medallions complete a scheme which is characterized throughout by dignity and sympathy.

The Illumination Conclusion

While a daytime investigation of the Exposition no doubt has its rewards, the full meaning of the Exposition reveals itself at night.

Never before has an Exposition been illuminated in the unique fashion of the Panama-Pacific International Exposition.

Former exposition lighting consisted of a lavish display of lighting fixtures, and of unavoidable millions of glaring bulbs, the number of which n.o.body was permitted to forget. The offensive glare of the direct light had to be eliminated to preserve that feeling of tonality, of restfulness, so impressive in daytime. In other words, the sources of all lights at night have been concealed, or so concentrated that they could be far removed, so as not directly to offend the eye. The effect is very much like the flood of light of a full-moon summer night.

In speaking of the rich mellowness of the lighting effect, one feels again compelled to speak of the travertine stucco as the artistic foundation of not only the architecture, sculpture, painting, and landscape garden effects, but also of the illuminating effects designed by Mr. W. D'A. Ryan, and executed by Mr. Guy L. Bayley. Without the mellow walls and rich orange sculptural details, no such picture of tonal beauty could have been produced.

It is difficult to single out, among the many suggestive pictures, the most alluring one, but I may safely say that the first half hour after the close of day, as enjoyed around the lagoon, with the Fine Arts Building in the background, reflected in the waters, will linger forever in the minds of all who are privileged to see it.

Such blues I have seen only in pictures by Maxfield Parrish. Combined with the rich gold of the colonnade, they are almost supernatural. The whole effect, as reflected in the placid surface of the lagoon, occasionally broken here and there by a slowly moving waterfowl, or the protruding mouth of a carp, is inspiring, and must awaken an aesthetic response in the soul of the most ordinary mortal. Very quickly, however, does this colorful picture change, and the very intense blue of the early evening sky rapidly changes into a colorless black.

The Palace of Fine Arts, above all others, offers many wonderful bits of enchantment at night. It seems to have been thought out not only for its daytime effect but for the night as well.

Of the inner courts, those with larger and smaller bodies of water are most effective at night. The Court of the Four Seasons, with its placid, shrub-encircled pool, is doubly interesting at night. The four wall-fountains add much to the outdoor feeling that this court possesses, by reason of the suggestive murmur of the waters, descending in gentle splashes from bowl to bowl.

The most striking court, in its mysteriousness, is Mullgardt's Court of Abundance, particularly so on a foggy night. Large volumes of vapor are lazily rising from huge bowls and torches, below, and in the tower, suggesting the early days of the cosmic All, cooling off from the turbulent period of its creation. The fogs sweeping from the bay add more mystery, and with the gorgeous perfume of the hyacinth carpet in the garden s.p.a.ces, the effect is almost narcotic. The whole court, under these conditions, seems heavy with the atmosphere of abundance, of physical well-being, of slumbering natural powers.

At the same time, it is truly religious in its effect of turning the mind away from the ordinary world into the realm of the mystic and the supernatural. I never realized what our San Francisco fogs could produce in artistic effects until I visited Mullgardt's court on a foggy night.

The effect of the fog is absolutely enn.o.bling.

So many things like these, possibly not originally thought of, have added, together with the illumination, rare charm to the Exposition.

Great ma.s.ses of pigeons, attracted by the light thrown upon the two great groups of the Nations of the West and of the East, give an unusually inspiring touch to the Exposition at night. The spectacle of these graceful birds encircling rhythmically the great sculptural piles, apparently enjoying the bath of light, will never be forgotten. These pigeons seem to have decided to live in the Exposition; they are there always, and apparently glad to play their part in the Exposition ensemble.

The lesson of the Exposition will be far reaching in its many demonstrations of the commercial value of artistic a.s.sets. The whole Exposition is really a city-planning exposition of the first order. Any city-builder, by the respectful use of the great fundamental principles of balance, harmony, and unity, cannot help but do on a large scale what the Exposition presents in a more condensed fashion. I admit that we have made tremendous strides in the remodeling of many of our large cities, particularly in the East, but we are still constantly starting new cities in the old planless way.

Our only practical and lasting effort in San Francisco along the lines of civic progress has been made in the civic center, where a far-reaching plan has been adopted and partly put into existence, and in some of our very charming newer restricted residence districts in the western end of the city, like St. Francis Wood, or in Northbrae and Claremont, in Berkeley, and elsewhere around the bay.

There is no doubt that we must better capitalize our own artistic a.s.sets, which we often allow to lie idle before we ever utilize them properly. The water front, Telegraph hill, the ocean sh.o.r.e, Sutro Heights, and Lincoln Park are all waiting to be developed in such a way as the Exposition suggests. The talk of cost is idle twaddle. If the Exposition, as an artistic investment, pays - and I see no reason whatever why it should not pay for itself - then we cannot do anything better than to invest our money wisely in other artistic improvements of a permanent character.

San Francisco is known all the world over for its unique location, rivaled only by that of Ma.r.s.eilles, and we have now the responsibility to use this natural a.s.set, for which many envy us. The Exposition will start an avalanche of improvements along artistic lines which will be given increasing momentum by the development of long periods of prosperity.

The most urgent need, no, doubt, is the establishment of a munic.i.p.al art gallery in the civic center, the only ideal place for it, where the workingman from the Mission and the merchant from west of Van Ness avenue will find it equally convenient of access. If a smaller number of citizens could raise the money for a munic.i.p.al opera house, there should be no trouble in getting funds for a building devoted to a far more extensive public benefit, like an art gallery. People generally will want to know why it is that certain things can be given to them for one year, so successfully, and why it should not be possible to have them with us permanently. The inspiring lesson of beauty, expressed so simply and intelligently, will sink deep into the minds of the great ma.s.ses, to be reborn in an endless stream of aesthetic expression in the spiritual and physical improvement of the people.

We, out here in the West, have been measuring the tide of human progress in biological terms. We have almost forgotten the days of our great calamity, and still speak of them in that typical expression of apprehension of the "earthquake babies." Let us think now of the future and its bright prospects, inaugurated so auspiciously for the benefit of our Exposition generation.

Appendix

Guide to Sculpture

South Gardens:

Fountain of Energy (center) - A. Stirling Caller Directly opposite the main entrance, the most conspicuously placed fountain in the grounds. The four major figures in the bowl represent the Pacific, the Atlantic, and the two Arctic oceans. The minor eight figures suggest the marine character of the fountain. The reclining figures on the sphere typify the two hemispheres. The youth on horseback represents energy and strength.

The Mermaid (fountains in long pools) - Arthur Putnam The same figure is used twice, near the Horticultural Palace on the west and Festival Hall on the east.

Equestrian Statue, "Cortez" - Charles Niehaus Guarding the Tower of Jewels. This statue represents the great Spanish conqueror. As one faces the tower, this figure is on the left.

Equestrian Statue of "Pizarro" - Charles Cary Rumsey Similar in type and feeling to the preceding statue on the right, in front of the Tower of Jewels.

Horticultural Building:

Frieze at Base of the Spires - Eugene Louis Boutier Loose arrangement of standing female figures surrounding the bases of the spires on all sides of the Horticultural Palace, with no other meaning than that of decoration.

Pairs of Caryatides - John Bateman Architectural vertical members supporting the pergola around the Horticultural Palace. Used also on the Young Women's Christian a.s.sociation and the Press buildings, near the main entrance.

Tower of Jewels:

Statues of "Priest," "Soldier," "Philosopher," and "Adventurer" - John Flanagan Four figures suggestive of the forces which influenced the destinies of our country. Very big in scale - about twice life size. They are standing on a row of columns below the cornice on the tower and are repeated on all four sides.

The Armored Horseman (Terrace of the Tower) - F. M. L. Tonetti A decorative equestrian statue on the lower terrace of the tower above the preceding figures - repeated sixteen times.

Tower Colonnades:

Fountain of Youth (east end) - Edith Woodman Burroughs Snugly placed inside the ab.u.t.ting walls, east of the Tower of Jewels.

Naive in character and simple in treatment, without any further symbolical meaning than that suggested by the name. Motif in side panels, "Ship of Life."

Fountain of El Dorado (west end) - Mrs. Harry Payne Whitney In position similar to the preceding, west of the Tower of Jewels. A triptych of dramatic expression, naturalistically treated.

Festival Hall: