The City of Domes | Page 4

Plateresque Doorway, in Northern Wall Eastern Entrance to Court of Four Seasons Night View of Court of Four Seasons Portal in Court of Four Seasons The Marina at Night Rotunda of the Palace of Fine Arts Altar of Palace of Fine Arts "The Power of the Arts" Italian Fountain, Dome of Philosophy "The Thinker" "Aspiration" "Michael Angelo" Italian Renaissance Towers "The End of the Trail" Colonnade in Court of Palms "Victorious Spirit" Entrance to Palace of Horticulture Night View of the Palace of Horticulture Festival Hall at Night "The Pioneer" Fountain of Beauty and the Beast Entrance to Palace of Varied Industries Group above Doorway of Palace of Varied Industries Avenue of Palms at Night Avenue of Progress at Night Arcaded Vestibule in Entrance to Palace of Machinery "Genii of Machinery" "The Genius of Creation" Tower in Court of the Ages Fountain of the Earth "The Stone Age" "Fruit Pickers" Entrance to Court of the Ages, at Night "The Triumph of Rome" "The Thirteenth Labor of Hercules"

Preface

In the main, this volume consists of articles originally published in the San Francisco BULLETIN. It includes material gathered from many visits to the Exposition grounds and from many talks with men concerned in the organization and the building and ornamentation. The brief history that forms the Introduction gives an account of the development. For me, as, I presume, for most people, the thing done, no matter how interesting it may he, is never so interesting as the doing of the thing, the play of the forces behind. Even in the talk with the architect, where the finished Exposition itself is discussed, I have tried to keep in mind those forces, and wherever I could to indicate their play.
The dialogue form I have used for several reasons: it is easy to follow; it gives scope for more than one kind of opinion; and it deals with the subject as we all do, when with one friend or more than one we visit the Exposition grounds. It has been my good fortune to he able to see the Exposition from points of view very different from my own and much better informed and equipped. I am glad to pass on the advantage.
The Exposition is generally acknowledged to be an achievement unprecedented. Merely to write about it and to try to convey a sense of its quality is a privilege. I have valued it all the more because I know that many people, not trained in matters of architecture and art, are striving to relate themselves to the expression here, to understand it and to feel it in all its hearings. If, at times, directly or in indirectly, I have been critical, the reason is that I wished, in so far as I could, to persuade visitors not to swallow the Exposition whole, but to think about it for themselves, and to bear in mind that the men behind it, those of today and those of days remote, were human beings exactly like themselves, and to draw from it all they could in the way of genuine benefit.
Though the volume is mainly devoted to the artistic features associated with the courts and the main palaces, I have included, among the illustrations, pictures of the California Building, both because of its close relation to California and because it is in itself magnificent, and of two notable art features, the mural painting by Bianca in the Italian Building, and "The Thinker", by Rodin, in the court of the French Pavilion.

Introduction

The First Steps

In January, 1904, R. B. Hale of San Francisco wrote to his fellow-directors of the Merchants' Association, that, in 1915, San Francisco ought to hold an exposition to celebrate the opening of the Panama Canal. In the financing of the St. Louis Exposition, soon to begin, Mr. Hale found a model for his plan. Five million dollars should be raised by popular subscription, five million dollars should be asked from the State, and five million dollars should be provided by city bonds.
The idea was promptly endorsed by the business associations.
From their chairmen was formed a board of governors. It was decided that the exposition should be held, and formal notification was given to the world by introducing into Congress a bill that provided for an appropriation of five million dollars. The bill was not acted on, and it was allowed to die at the end of the session.
Soon after formulating the plan for the exposition Mr. Hale changed the date from, 1915 to 1913, to make it coincide with the four hundredth anniversary of the discovery by Balboa of the Pacific.
In 1906 came the earthquake and fire. The next few years San Franciscans were busy clearing away the debris and rebuilding. It was predicted that the city might recover in ten years, and might not recover in