The Art of the Exposition | Page 6

new opportunities, particularly in the field of concrete construction, as well as in wood. The great size of the Machinery Palace is much more enjoyable from within, on account of the constructive patterns left in the raw, than from without, where there is not enough animation in the many plain surfaces of the outer walls. I do not know that it is customary to put the engineer's name, together with that of the architect, on a building; the time s approaching very rapidly when we shall be in duty bound to do so.
Aside from the structural charm of the inside, the outer fa?ade of Machinery Hall is not entirely devoid of architectural interest. Its general forms are apparently those of an early Christian church, although its decorative motives are all indicative of the profane purposes for which it is used.
Festival Hall, by Farquhar, of Los Angeles, at the east end of the south gardens, does not look particularly festive, and it is not original enough to shine by itself, like its very happy mate at the south end, the Horticultural Palace. There is nothing like this Horticultural Palace anywhere on the grounds in its gorgeous richness of decorative adornment. It has no relation to any other building on the site. It is very happy, with its many joyous garlands, flower-baskets, and suggestions of horticultural forms - all very well done - so very much better done than so many of the cheap period imitations so common to our residence districts. It is so decidedly joyous in character that people looking for Festival Hall wander over to the Horticultural Palace, attracted by the very joyousness of its scheme.
Good rococo ornamentation is rare abroad and even rarer in this country, which is essentially opposed in its tendencies and in its civilization to those luxurious days of the French kings who created the conditions under which this very delightful style could flourish.
The Horticultural Palace is a great success as an interpretation of a style which rarely finds a sympathetic expression in this country. I do not feel at all that it ought, but in a case of this kind where a temporary purpose existed, it was happily chosen.
Of all isolated units, none causes greater admiration than the Fine Arts Palace. It presents the astounding spectacle of a building which violates the architectural conventions on more than one occasion, and in spite of it, or possibly for that very reason, it has a note of originality that is most conspicuous. Everybody admits that it is most beautiful, and very few seem to know just how this was accomplished. Many of the "small fry" of the architectural profession enjoy themselves in picking out its faults, which are really, as suggested above, the reason for its supreme beauty. Save for Mullgardt's court, it is the only building that seems to be based on the realization of a dream of a true artistic conception. With many other of the buildings one feels the process of their creation in the time-honored, pedantic way. They are paper-designed by the mechanical application of the "T" square and the triangle. They do not show the advantage of having been experienced as a vision.
With Bernard Maybeck's Palace of Fine Arts, one has the feeling that this great temple is a realized dream; that it was imagined irrespective of time, cost, or demand. Like all of Maybeck's buildings, it is thoroughly original. Of course the setting contributes much to the picturesque effect, but aside from that, the colonnades and the octagonal dome in the center of the semicircular embracing form of the main building present many interesting features There is a very fine development of vistas, which are so provided as to present different parts of the building in many ever-changing aspects. On entering the outer colonnade one forgets the proximity of everyday things; one is immediately in an atmosphere of religious devotion, which finds its noblest expression in that delicate shrine of worship, by Ralph Stackpole, beneath the dome. This spiritual quality puts the visitor into the proper frame of mind for the enjoyment of the other offerings of art within the building. Mr. Maybeck has demonstrated once again that his talent is equal to any task in the field of architectural art. I wish we had more of his rare kind and more people to do justice to his genius.
Not far from the Palace of Fine Arts, on the shores of the bay, the monumental tower of the California building fits well into the scheme of things. Seen from a distance, from numerous points across the lagoon, it offers a great many effective compositions in connection with some very decorative groups of old acacia trees, the legacy of an old amusement park of the bygone days of San Francisco - the