Art-Lovers guide to the Exposition | Page 4

against
the velvet sky, and sculptures take on a new softness and loveliness of form. Under the
wonderfully developed system of indirect illumination, no naked light is seen by the eye;
only the soft reflected glow, intense when desired, but never glaring. If this lighting is not
in itself an art, it is at least the informing spirit that turns prose to poetry, or the
instrumental accompaniment without which the voice of the artist would be but half
heard. Too much credit cannot be given to the lighting wizard of the Exposition, W.
D'Arcy Ryan.

The Court of Abundance

The Court of Abundance is the most original, and perhaps the most consistently beautiful,
of all the Exposition courts. No other is so clearly complete in itself, without the intrusion
of features from surrounding buildings and courts. No other has the same effect of
cloistered seclusion partly because each of the others is open on one side. And certainly
no other indicates so clearly the touch of the artist, of the poet-architect, from the organic
structural plan to the finest bit of detail. Even the massive central fountain, though
conceived in such different spirit, has no power to dispel the almost ethereal charm that
hovers over the place.
The distinctive note of the court is one of exquisite richness. As one enters from any side
the impression grows that this is the most decorative of all the courts; and yet one is not
conscious of any individual bit of decoration as such. Everything fits perfectly: arches,
tower, cornices, finials, statues, planting-it all goes to enrich the one impression.
Someone has said that the court is not architecture, but carving; and that suggests
perfectly the decorative wealth of the composition.
Architecture
The style of architecture has been guessed at as everything from Romanesque and Gothic
to Flamboyant Renaissance and Moorish. The truth is that the court is a thoroughly
original conception; and the architect has clothed his pre-conceived design in forms that
he has borrowed from all these styles as they happened to suit his artistic purpose. The
spirit of the court is clearly Gothic, due to the accentuation of the vertical lines-and one
will note how the slender cypresses help the architecture to convey this impression. The
rounded arches, modified in feeling by the decorative pendent lanterns, hint of the
awakening of the Renaissance period in Spain, during the Fourteenth and Fifteenth
Centuries, when the vertical lines, and decorative leaf and other symbolic ornaments of
the severer Gothic, were so charmingly combined with classic motives.
The architecture here is inspiring as a symbol of the American "melting-pot." It is a
distinct and original evolution, recalling the great arts of Europe, and yet eluding
classification. The court shows that the designer was master of the styles of the past, but
refused to be a slave to them; at the same time he had an original conception but did not
let it run into the blatant and bizarre. It is from such fusions of individual genius with the
traditions of the past that a distinctive American architecture is most likely to flower.
The tower is a magnificent bit of architectural design. It is massive and yet delicate. It
dominates the court, and yet it fits perfectly into the cloister. The rich sculpture is so
much a part of the decorative scheme that there is no impression of the structure having
been "ornamented." One must search long in the histories of architecture to find a tower
more satisfying.
The architect who designed the Court of Abundance is Louis Christian Mullgardt, one of
the two most original geniuses among California's architects.
It is well to enjoy this court at first for its beauty alone, without regard to its rich
symbolism. One who has thus considered it, merely as a delight to the eye, usually is
surprised to find that it has a deeper underlying meaning than any of the other courts. The
present name, "Court of Abundance," is not the original one. The architect conceived it as
"The Court of The Ages." It is said that the Exposition directors, for the rather foolish

reason that a Court of the Ages would not fit into the scheme of a strictly
contemporaneous exposition, re-christened it "The Court of Abundance." But it is the
former name that sums up the thought behind the decorative features.
The underlying idea is that of evolution. The tower sculptures, which will be more fully
explained in following paragraphs, represent successive ages in the development of
man-the Stone Age, the Mediaeval Age, and the Present Age. The decoration of the
cloisters may be taken as symbolizing the evolution of primitive man from the lower
forms of life. Thus the ornamental garlands that run up the sides of the arches are of
seaweed, while other