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There is better quality in Arthur F. Mathews' "Triumph of Culture," over the entrance to the Court of Seasons. In color and force this comes nearer to the splendid standard set by Frank Brangwyn than anything else in the Exposition's mural decoration. Perhaps that is too faint praise, for this is a real picture.
Louis, Portland, Maine, and Portland, Oregon, while San Francisco and the bay communities in general sent their thousands to the glorious recitals. The result will be seen in a stimulation of music in the West. But the engagements of Saint-Saens and Dr. Muck with his orchestra do not sum up the important activities of the Exposition's music.
The Annex, too, has a splendid exhibit of the etchings of Frank Brangwyn, the great Englishman, who is no less renowned as an etcher than as a painter, and who has won the Exposition's medal of honor in the International Section. The arrangement of the rooms in the Fine Arts Gallery becomes simple enough when the key is supplied.
As Festival Hall is the seat of the Exposition's musical life, all the sculpture on and about the building expresses a lyrical mood.
Especially brilliant are the works of Cecilia Beaux and M. Jean McLane, the first winning the Exposition's medal of honor, the latter rather theatrical in their gayety of color. Here also is a canvas by Violet Oakley, another honor medallist. Volk's three charming pictures deserve to be better hung.
It is not generally known that the meeting of the International Council of Women held in Chicago during the World's Fair was suggested by Miss Anthony, as was also the appointment of the Exposition's "Board of Lady Managers." "Aunt Susan" kept her name in the background, that she might not array against these projects the opposition of those prejudiced against woman suffrage.
In this respect the Exposition's musical "exhibit" is similar in its scope to the revealments in all its other departments; for the Exposition is avowedly devoted to contemporaneous rather than historic achievements. Nothing that extends contemplation over a wider period than the last five years is admitted for competitive exhibition.
This complementary instrument, which is played from the console of the main organ, is placed under the roof of the hall, above the center of the ceiling. Its tones, floating down through the apertures in the dome, echo the themes of the great organ. Few organs have so mighty a note as the sixty-four-foot open pitch attainable on the Exposition's instrument.
In No. 47 E. L. Blumenschein's warm Indian pictures and A. L. Groll's desert scenes won silver medals. But the best thing here is Richard E. Miller's "Nude," already mentioned. On the east wall of Room 48 hangs "Sleep," the best of the eight canvases shown by Frederic Carl Frieseke, distinguished above all other American painters in the palace by the Exposition's grand prize.
The areas of the court in the Exposition's opening weeks were solid fields of daffodils, thick as growing wheat, with here and there a blood-red poppy, set to accent the yellow gold of the mass. Other flowers have now replaced these in an equal blaze of color.
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