The City of Domes | Page 4

Machinery XV. The Court of the Ages XVI. The
Brangwyns XVII. Watching the Lights Change XVIII. The
Illuminating and the Reflections Features that Ought to he Noted by
Day Features that Ought to be Noted by Night Index

Illustrations

"The Pioneer Mother" Design of the Exposition made in 1912 Site of
the Exposition before Construction was Begun Fountain of Youth
Fountain of El Dorado Court of the Universe "Air" and "Fire" "Nations
of the West" and "Nations of the Fast "The Setting Sun" and "The
Rising Sun" "Music" and "Dancing Girls "Hope and Her Attendants"
Star Figure; Medallion Representing "Art" California Building Spanish

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