Art-Lovers guide to the Exposition | Page 2

nature. But perhaps the most significant
thing of all is the wonderfully harmonious and unified effect of the whole, that testifies so
splendidly to the perfect co-operation of American architects, sculptors and painters.
The dominant note artistically is harmony. At no other exposition have the buildings
seemed to "hold together" so well; and at no other has there been the same perfect unity
of artistic impression. The Chicago Exposition of 1893 focused the artistic expression of
the nation at that time. It brought about the first great awakening of the country in artistic
matters, and it practically revolutionized American architecture. The St. Louis Exposition
of 1904, while less unified in plan, gave another great stimulus to architecture, and
especially to sculpture. But the Panama-Pacific Exposition should have a more
far-reaching effect than either of these, because its great lesson is not in the field of any
one art, but in showing forth the immense value of coordination of all the arts in the
achievement of a single glorious ideal. The great thing here is the complete harmony of
purpose, of design, and of color, in the combined work of architects, sculptors, painters,
and landscape gardeners. The sensible plan that results in perfect convenience in getting
about, the clothing of this plan in noble and fitting architectural forms, the use of
sculpture and painting as an integral part of the architectural scheme, the tying in of
buildings to site with appropriate planting, and the pulling together of the whole
composition with harmonious color-these are the things that will leave their impress on
American art for all time to come. If each student of the art of the Exposition takes home
with him an understanding of the value of this synthesis, of this co-ordination of effort,
he will have the key to the Exposition's most valuable heritage to the American people.
Physically there are three distinct parts to the Exposition: the main group of exhibit
palaces, the Zone, and the state and foreign buildings. The art-lover will be concerned
almost entirely with the first of these; for artistically the Zone expresses anarchy, and the
state and foreign pavilions are given over almost entirely to social and commercial
interests.
Architecture
The architecture of the central group of palaces and courts is a notable departure from
that of most of the expositions of the past. There are none of the over decorated facades,
none of the bizarre experiments in radical styles, and little of the riot of extraneous
ornament, that have been characteristic of typical "exposition architecture." The whole
spirit here is one of seriousness, of dignity, of permanency. The effects are obtained by
the use of long unbroken lines, blank wall spaces, perfect proportioning, and a restrained
hand in decoration. Color alone is relied upon to add the spirit of gayety without which

the architecture might be too somber for its joyous purpose.
The ground plan is remarkable for its perfect symmetry. On the main east and west axis
are grouped eight palaces, about three interior courts. At the east end the axis is
terminated by the Palace of Machinery, which cuts off the main group from the Zone. On
the west the axis is terminated by the Fine Arts Palace, which separates the central group
from the state and foreign buildings. The main cross axis is terminated at the south by the
Tower of Jewels and the Fountain of Energy, and at the north by the Column of Progress
on the Marina. The two minor cross axes end at the south in the Horticulture Palace and
Festival Hall-the two great domed structures that naturally would separate themselves
from the main plan and at the north these axes open on the Marina and the beautiful bay
view.
This plan is admirably compact. It has the effect of a walled city, giving a sense of
oneness from without, and a sense of shelter from within. The plan eliminated the usual
great distances between exhibit halls, at the same time providing protection against the
winds that occasionally sweep over the Exposition area. More important still, the
throwing of the finer architectural effects into the inner courts allowed freedom in
individual expression. In the court system the architects obtained unity with great variety
of style, and harmony without monotony.
The plan was worked out by a commission of architects. But the greatest credit must be
given to Edward H. Bennett, who first conceived the walled-city idea, and who brought
his long experience in city-planning to serve in determining the best method of utilizing
the magnificent site.
The style of architecture cannot be summed up in any one name. Practically every
historic style has been drawn upon, but there are very few direct copies from older
buildings. The old forms have been used with new freedom, and occasionally