of it all. Loosening up in a very subtle way, we find cleverly
arranged the buildings of the various States of the Union and of Foreign
Nations on the western side of the Fine Arts Palace, while at the other
extremity of the main group, screened by Machinery Hall, is the
amusement section, officially labeled "The Zone."
I do not suspect that the Zone is intended to give any artistic thrills. If
so, I would propose to call it "The Limit," and so I drop it as a subject
for further artistic, reference. It is invaluable, however, as an object
lesson in showing the fatal results of the utter disregard of all those
fundamental laws of balance, harmony, and unity so uniformly and
persistently applied through the seriously designed main body of the
Exposition. There is no harmony whatever in the Zone anywhere, either
in the form, style, or color, unless it be the harmony of ugliness which
is carried through this riotous mêlée of flimsiness and sham. I cannot
help but feel that this hodgepodge will convince the most doubting
Thomas who might believe in the mob rule of hundreds of conflicting
tastes. The Zone is not an improvement on similar things in former
Expositions. Save for certain minor exceptions at the entrance, it will
serve as a wonderfully effective illustration of the taste of the great
masses of the people, and as a fine business investment.
So far, we have moved only along the east and west axis of the
Exposition. The north and south development is not without its charm.
The terraced city of San Francisco, on the south, without a doubt looks
best on a densely foggy day. With its fussy, incongruous buildings - I
hesitate to call them architecture - it serves hardly as a background for
anything, let alone a group of monumental buildings. The opposite side,
where nature reigns, atones for multitudes of sins that man committed
on the city's hills. But how great an opportunity there was lost! There
are, however, some indications at the western end of Broadway that
give fine promise for the future.
The bay and its background of rising hills and blue mountain sides
provide, the wonderful setting that so charmingly holds the Exposition.
The general arrangement of the Exposition pays its respects to the bay
at every possible angle. The vistas from the three courts towards the
bay are the pièces de résistance of the whole thing. It was a fine idea,
not alone from an economic point of view, to eliminate the two arches
which appeared in the original plan at the end of the avenues running
north from the Court of the Four Seasons and the Court of Abundance.
There is hardly anything more inspiring than to stand in any of the
three courts and to look north through those well proportioned
colonnades over the blue bay towards the purple foothills of Marin
County, crowned by the graceful slopes of Mount Tamalpais on one
side and the many islands of the bay on the other. It is surprising into
how many enchanting vistas the whole arrangement resolves itself. For
the city-planner the Exposition contains a wonderful lesson. What fine
cities we might have if some artistic control could be exercised over the
buildings which are to stand opposite the junction of one street with
another, not only at right angles, but also at lesser degrees - for instance,
in all cases of streets running into Market street from the northwest.
To point out some particularly fine vistas, among many, we should
mention that from the Orchestral Niche in the Court of the Four
Seasons, looking toward the bay, or from the same court toward the
Fine Arts Palace - and many more. The natural background seems to
have been considered always, even in the arrangements of the smallest
apertures. One should not overlook the two open courts which run off
the main avenue, like charming coves in an island, into the main group
of buildings, connecting at their ends with the Court of the Four
Seasons at the west and the Court of Abundance toward the east. These
two, the Court of Palms and the Court of Flowers, have not so much the
charm of seclusion of the more centrally located courts, but their
architecture makes them of great interest.
As to the style of the architecture of the main group of eight buildings,
it has been called classic. If one means by that something excellent,
something in good taste, we must admit that it is classic indeed.
However, on closer examination it becomes very evident that the
individuality of many men has found expression in the architectural
structural forms, as well as in the minor and decorative forms.
The main Tower of Jewels, by Carrère and
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