The Jewel City.

by Ben Macomber.

Introduction

No more accurate account of the Panama-Pacific International Exposition has been given than one that was forced from the lips of a charming Eastern woman of culture. Walking one evening in the Fine Arts colonnade, while the illumination from distant searchlights accented the glory of Maybeck's masterpiece, and lit up the half-domes and arches across the lagoon, she exclaimed to her companion: "Why, all the beauty of the world has been sifted, and the finest of it a.s.sembled here!"

This simple phrase, the involuntary outburst of a traveled visitor, will be echoed by thousands who feel the magic of what the master artists and architects of America have done here in celebration of the Panama Ca.n.a.l.

I put the "artists" first, because this Exposition has set a new standard. Among all the great international expositions previously held in the United States, as well as those abroad, it had been the fashion for managers to order a manufactures building from one architect, a machinery hall from another, a fine arts gallery from a third. These worked almost independently. Their structures, separately, were often beautiful; together, they seldom indicated any kinship or common purpose. When the buildings were completed, the artists were called in to soften their disharmonies with such sculptural and horticultural decoration as might be possible.

The Exposition in San Francisco is the first, though it will not be the last, to subject its architecture to a definite artistic motive. How this came about it is the object of the present book to tell,--how the Exposition was planned as an appropriate expression of America's joy in the completion of the Ca.n.a.l, and how its structures, commemorating the peaceful meeting of the nations through that great waterway, have fitly been made to represent the art of the entire world, yet with such unity and originality as to give new interest to the ancient forms, and with such a wealth of appropriate symbolism in color, sculpture and mural painting as to make its great courts, towers and arches an inspiring story of Nature's beneficence and Man's progress.

Much of Mr. Macomber's text was written originally for The San Francisco Chronicle, to which acknowledgment is made for its permission to reprint his papers. The popularity of these articles, which have been running since February, has testified to their usefulness. In many cases they have been preserved and pa.s.sed from hand to hand. They have also won the endors.e.m.e.nt of liberal use in other publications. It is proper to say, however, that similarity of language sometimes indicates a common following of the artists' own explanations of their work, made public by the Exposition management.

Mr. Macomber has revised and amplified his chapters. .h.i.therto published, and has added others briefly outlining the history of the Exposition, and dealing with the fine-arts, industrial, and livestock exhibits, the foreign and state buildings, music, sports, aviation, and the amus.e.m.e.nt section. Apart from the smaller guides, the book is thus the first to attempt any comprehensive description of the Exposition. Without indiscriminate praise, or sacrificing independent judgment, the author's purpose has been to interpret and explain the many things about which the visitors on the ground and readers at home may naturally wish to know, rather than to point out minor defects.

For the general exhibit palaces, anything more than a brief outline of their contents would fill several books. But the chapter ent.i.tled "The Palace of Fine Arts and its Exhibit, with the Awards," supplies such an account of the plan of the galleries and of the important works therein as will furnish a clear and helpful guide to this great collection. The awards of the Fine Arts juries, just announced, have been incorporated in the account, while a full list of the grand prizes, medals of honor and gold medals also follows the chapter. With the artists thus named are noted the rooms where the works of each may be found. The Appendix offers a practical aid to the study of the "Exposition Art" in the list there given of the mural paintings and sculptures which form the notable decorations of palaces and gardens. With these are cross-references to the pages in the text where they are described.

In selecting the photographs here reproduced, the aim has been not so much to show exhibits as to ill.u.s.trate the plan, architecture and decorative art of the Exposition, and to indicate the advance which it scores over its predecessors. The pictures, with their full "underlines," will aid those who have not yet visited the Exposition to apprehend its spirit and much of its unprecedented beauty.

Cross-references from text to ill.u.s.trations increase their helpfulness.

But even these abundant ill.u.s.tration can do little more than suggest how far the artistic achievement is the finest yet seen in America. No book can adequately represent this World's Fair. Its spell is the charm of color and the grandeur of n.o.ble proportion, harmonizing great architectural units; its lesson is the compelling value, demonstrated on a vast scale, of exquisite taste. It must be seen to be understood.

John H. Williams.

San Francisco, July 15, 1915.

I.

Motive and Planning of the Exposition

The Panama Ca.n.a.l a landmark in human progress--Its influence through changes in trade routes San Francisco determines, in spite of the great fire, to celebrate its completion--Millions pledged in two hours-- Congressional approval won--The Exposition built by California and San Francisco, without National aid--Only two years given to construction-- Fifty millions expended.

Human endeavor has supplied no n.o.bler motive for public rejoicing than the union of the Atlantic and Pacific Oceans. The Panama Ca.n.a.l has stirred and enlarged the imaginations of men as no other task has done, however enormous the conception, however huge the work. The Ca.n.a.l is one of the few achievements which may properly be called epoch-making. Its building is of such signal and far reaching importance that it marks a point in history from which succeeding years and later progress will be counted. It is so variously significant that the future alone can determine the ways in which it will touch and modify the life of mankind.

First of all, of course, its intent is commercial. Experts have already estimated its influence on the traffic routes. But these experts, who can, from known present conditions, work out the changes that will take place, that are already taking place, in the flow of commerce on the seven seas, cannot estimate the effect those changes will have on the life of the people who inhabit their sh.o.r.es. Changes in trade routes have overwhelmed empires and raised up new nations, have nourished civilizations and brought others to decay. From the days when merchants first followed the caravan routes, nothing has so modified the history of nations as the course of the roads by which commerce moved. Huge as was the Ca.n.a.l as a physical undertaking alone, it is not less stupendous in the vision of the effects which will flow from it.

In this vision, the Western sh.o.r.e of the United States feels that it looms largely. No small part of the benefits of the Ca.n.a.l are expected to fall to the Pacific States. Long before it was completed, the minds of men in the West were filled with it. Its approaching completion appealed to everyone as an event of such tremendous significance as to deserve commemoration. Thus when R. B. Hale, in 1904, first proposed that the opening of the waterway should be marked by an international exposition in San Francisco, he merely gave expression to the thought of the whole West.

The Ca.n.a.l is a national undertaking, built by the labor and money of an entire people. It is of international significance, too, for its benefits are world-wide. The Exposition thus represents not only the United States but also the world in its effort to honor this achievement. San Francisco and California have merely staged the spectacle, in which the world partic.i.p.ates.

An international exposition is a symbol of world progress. This one is so complete in its significance, so inclusive of all the best that man has done, that it is something more than a memorial of another event. It is itself epochal, as is the enterprise it commemorates. It bears a direct relation to the Ca.n.a.l. The motive of the Exposition was the grandeur of a great labor. Completed, it embodies that motive in the highest expression of art.

It took eleven years to prepare for and build the Exposition. The first proposal in 1904 was followed by five years of discussion of ways and means. Two years were occupied in raising the money and winning the consent of the Nation, and then four years more in planning, building, and collecting the exhibits. The first plans were interrupted, but not ended, by the most terrible disaster that ever befell a great city--the fire of 1906, which wiped out the entire business portion, with much of the residence section, of San Francisco, and destroyed hundreds of millions of wealth. Before that year ended, and while the city was only beginning its huge task of rebuilding, it again took up its festival idea. A company was formed, but, until reconstruction was largely out of the way, it was impossible to do more than keep the idea alive.

In October, 1909, the idea began to crystallize into a definite purpose.

In that month President Taft, at a banquet at the Fairmont Hotel, declared that the Ca.n.a.l would be opened to commerce on January 1, 1915.

That announcement gave the final impulse to the growing determination.

The success of the Portola celebration that summer had given the city confidence in its ability to carry out a great festival undertaking. In fact, it was at a meeting of the Portola committee that the first move was made toward the organization that later became effective.

A ma.s.s-meeting in the Merchants' Exchange, on December 7, 1909, ended in a resolve to organize an exposition company. This found such strong popular support that at a second ma.s.s-meeting on April 28, 1910, $4,089,000 was subscribed in less than two hours. In two months the subscription had risen to $6,156,840. Governor Gillett called the California legislature in special session in August to submit to the people const.i.tutional changes enabling San Francisco to issue exposition bonds in the amount of $5,000,000, and the State to raise another $5,000,000 by special tax. In November the people of State and city voted the two amounts. That placed a minimum of $16,000,000 to the credit of the Exposition Company and a.s.sured the world that California meant business.

Then followed the struggle for Congressional approval. New Orleans demanded the right to celebrate the opening of the Panama Ca.n.a.l. All the resources of both cities were enlisted in a battle before Congress that drew the attention of the Nation. Three times delegations went from California to Washington to fight for the Exposition. California won, on January 31, 1911, when, by a vote of 188 to 159, the House of Representatives designated San Francisco as the city in which the Panama-Pacific International Exposition should be held in 1915 to commemorate the opening of the Ca.n.a.l.

During this struggle California gave her word that she would not ask the Nation for help in financing the Exposition. The promise has been kept.

The Government has not even erected a national building. It has, however, helped in material ways, by granting the use of portions of the Presidio and Fort Mason reservations, by sending naval colliers to bring exhibits from European countries, and by becoming one of the heaviest exhibitors. The national exhibits include three companies of marines encamped on the grounds, and the battleship Oregon anch.o.r.ed off the Marina.

After Congress had acted, half a year was spent in choosing a site. It was at first expected that the Exposition would be built in Golden Gate Park. A compromise among advocates of different sites was reached on July 25, 1911, when a majority vote of the directors named a site including portions of Golden Gate Park, Lincoln Park, the Presidio, and Harbor View. Before 100,000 people President Taft broke ground for the Exposition in the Stadium of Golden Gate Park. But it was not long before the choice settled finally on Harbor View alone.

The work began with the organization of the architectural staff. The following architects accepted places on the commission: McKim, Mead and White, Henry Bacon, and Thomas Hastings of New York; Robert Farquhar of Los Angeles; and Louis Christian Mullgardt, George W. Kelham, Willis Polk, William B. Faville, Clarence R. Ward, and Arthur Brown of San Francisco. To their number was later added Bernard R. Maybeck of San Francisco, who designed the Palace of Fine Arts, while Edward H.

Bennett, an a.s.sociate of Burnham, of Chicago, made the final ground plan of the Exposition group. When San Francisco had been before Congress asking national endors.e.m.e.nt for the Exposition here, the plans which were then presented, and on which the fight was won, were prepared by Ernest c.o.xhead, architect, of this city. These proposed a ma.s.sed grouping of the Exposition structures, around courts, and on the Bay front. They were afterwards amplified by c.o.xhead, and furnished the keynote of the scheme finally carried out. While the Exposition belongs not to California alone, but to the whole world, it is pleasant to find that so much of what is best in it is the work of Californians and San Franciscans.

The architects perfected the plan in 1912. At the same time the actual work of preparing the site was completed with the filling of the tide-land portions by hydraulic dredgers and the removal of the standing buildings. In the same year the department chiefs were named and began their work. John McLaren, for many years Superintendent of Golden Gate Park, was put in charge of the landscape engineering; W. D'A. Ryan was chosen to plan the illumination, and Jules Guerin and K. T. F. Bitter were placed at the heads of the departments of color and sculpture. With these details behind, the ground-breaking for Machinery Palace in January, 1913, marked the beginning of the final stage. In the two years that remained it was necessary only to carry out the plans already perfected. No other exposition has been so forehanded. When the gates opened on February 20, 1915, to remain open till December 4, the Exposition was practically complete. Some of the exhibitors had not finished their installation; some of the foreign nations were not ready, but the Exposition had kept a promise made two years before to have its own work done on time. This achievement was quite unprecedented. It is the more remarkable in that the record was made by a city which had been almost annihilated by fire a few years before.

The entire cost of the Exposition, exclusive of the value of exhibits, is estimated by the Controller at $50,000,000. This total is made up of $20,000,000 spent by San Francisco and California, $10,000,000 laid out in state and foreign buildings and displays, $10,000,000 by private exhibitors, and $10,000,000 by the one hundred concessionaires on the Joy Zone. San Francisco contributed $12,500,000, the State of California $5,000,000, and its fifty-eight counties, $2,500,000. The amounts expended by foreign nations range from $1,700,000 by Argentina to sums as low as $100,000. The State of New York spent nearly $1,000,000.

II.

Ground Plan and Landscape Gardening

The Exposition a product of co-operation of the arts--The landscape made part of the scheme--Block grouping of palaces and courts--Plan of the buildings--McLaren's wonders in gardening--Succession of flowers throughout the Exposition--Changes overnight--Unique wall of living green.

The artistic quality which distinguishes this Exposition above all others in America or Europe rests on two outstanding facts: the substantial unity of its architectural scheme, and its harmony of color, keyed to Nature's coloring of the landscape in which it is placed. The site furnished the clue to the plan; co-operation made possible the great success with which it has been worked out.

"Centuries ago," said George W. Kelham, chief of Exposition architecture, "before the modern age of advanced specialization was dreamed of, had an architect been asked to create an exposition, he would have been not only an architect, but painter, sculptor and landscape engineer as well. He would have thought, planned and executed from this fourfold angle, and I doubt if it would have even occurred to him to think of one of the arts as detached from another." These words express the method of the Exposition builders. The scheme adopted was a unit, in which all of the arts were needed, and in which they all combined to a single end. Each building, each court, every garden and large ma.s.s of foliage, was designed as part of a balanced composition.

To make the landscape an integral part of the Exposition picture, by fitting the Exposition to the landscape, was the common aim of architect, colorist, sculptor and landscape engineer. The Mediterranean setting offered by a sloping bench on the sh.o.r.e of the Golden Gate suggested, as most capable of high expression of beauty, the scheme of a city of the Far East, its great buildings walled in and sheltering its courts. The coloring of earth, sky and sea furnished the palette from which tints were chosen alike for palaces and gardens.

The beauty of this plan is matched by its practical advantages. The compact grouping of the Exposition palaces not only meant a saving of ground and labor, but it makes it easier to handle the crowds, and lessens the walking required of the visitor. There is no monotony. In developing the general idea, each architect and artist was left free to express his own personality and imagination. The result is that varied forms and colors in the different courts and buildings blend truly into the whole picture of an Oriental city, set in the midst of a vast amphitheater of hills and bay, arched by the fathomless blue of the California sky.

The ground plan is as simple as it is compact. Entering through the main gate at Scott Street, the visitor has the Exposition before him, practically an equal section on either hand. (See map, p. 30, 31.) On right and left in the South Garden are Festival Hall and the Palace of Horticulture. (p. 23, 24, 29.) In front is the Tower of Jewels, before it the Fountain of Energy. (p. 47.) The tower centers the south front of a solid block of eight palaces, so closely joined in structure, and so harmonized in architecture, as to make really a single palace. On the right and left of the tower are the Palaces of Manufactures and Liberal Arts; beyond them, on east and west, are Varied Industries and Education. Behind these four, and fronting on the bay from east to west, are Mines, Transportation, Agriculture and Food Products. In the center of the group, cut out of the corners of the Manufactures, Liberal Arts, Agriculture and Transportation Palaces, and entered from the south through the Tower of Jewels, is the great Court of the Universe, opened on east and west by the triumphal Arches of the Nations. (p. 59 and 63.) The Court opens northward between the Palaces of Transportation and Agriculture in a splendid colonnaded avenue to the Column of Progress, near the bay. (p. 57.)

Through the arch on the east the Court of the Universe opens into an avenue which leads to the Court of the Ages, cut out of the intersection of the four Palaces of Manufactures, Varied Industries, Mines and Transportation. (p. 70.) A similar avenue on the west pa.s.ses to the Court of Seasons, carved from the common junction of Liberal Arts, Education, Food Products and Agriculture. (p. 79 and 80.) Avenues pa.s.s east and west and to the north from each of these two courts, and on the south each connects through an arch with a court set back into the south front of the palace group, the Courts of Flowers and Palms. (p. 85, 87, 88, 93, 100.) On east and west of this central group of eight palaces are the Palace of Machinery and the Palace of Fine Arts (p. 105, 112), serving architecturally to balance the scheme. East of the exhibit palaces is the Joy Zone, a mile-long street solidly built with bizarre places of amus.e.m.e.nt. Balancing the Zone on the west is the State and Foreign section, with the live-stock exhibits, the polo field, race track and stadium beyond, at the western extremity of the grounds. The state buildings stand along two avenues on the north side of the section; the foreign pavilions occupy its southern half.

The Tower of Jewels and the central palace group face south on the Avenue of Palms (p. 18), which, at its west end, turns as it pa.s.ses the Fine Arts lagoon, and becomes the Avenue of Nations. This latter highway, bordered by the foreign buildings, joins at its western extremity the Esplanade, a broad avenue pa.s.sing the north face of the palace group and continuing westward between the state and the foreign sections.

On the east, the Avenue of Progress divides the central group from the Palace of Machinery. Administration Avenue on the west separates the central group from the Palace of Fine Arts. Along the bay sh.o.r.e is the Marina, and between it and the Esplanade are the Yacht Harbor and the lawns of the North Gardens.

Surrounding all these buildings, filling the courts and bordering the avenues, are John McLaren's lovely gardens. For mult.i.tudes of visitors this landscape gardening is the most wonderful thing about the Exposition. The trees and flowers have been placed with perfect art; they look as though they had been there always. It is hard for a stranger to believe that three years ago the Exposition site was a marsh, and that these trees were transplanted last year.