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That gave not only growing trees, in addition to the resources of the Exposition's forestry, but also a real sheet of water, for the landscape. Maybeck surprised me by saying that there is nothing specially remarkable about the Palace itself. "What is it the people like?" he asked, and himself replied, "it is the water and the trees."
Therein lay the charm of that poetic wonder and marvel of its day the Columbian Exposition's "White City"; it was an architectural triumph and glory which we could not have except on condition that it should vanish with the swiftness of an aurora.
The omission of Munch from the honor list is really a tribute to his eminence. An artist who has won the Grand Prix at Rome and awards in every other European capital was deemed outside of competition here. Axel Gallen-Kallela, the celebrated Finnish painter, winner of the Exposition's medal of honor, fills another room in the Annex.
If each student of the art of the Exposition takes home with him an understanding of the value of this synthesis, of this co-ordination of effort, he will have the key to the Exposition's most valuable heritage to the American people. Physically there are three distinct parts to the Exposition: the main group of exhibit palaces, the Zone, and the state and foreign buildings.
These two features, the arches and the colonnades, here at the center of the palace group, strike the Exposition's note of breadth. Their decoration is the key to the festal richness of all the adornment. By day the four entrances to the court are its finest features. Nowhere in the whole Exposition is the air more gloriously free than around the lofty arch and colonnades of the Tower of Jewels.
The two lovely fountains in the wings of the Tower draw their inspiration from the days of the conquistadors. Mrs. Harry Payne Whitney's Fountain of El Dorado is a dramatic representation of the Aztec myth of The Gilded One, which the followers of Cortez, in their greed for gold, mistook for a fact instead of a fable. The Tower of Jewels epitomizes the Exposition's art.
Then people began to say that there was beauty in the sky-scrapers, and the architects changed their policy. They built in straight parallel lines that shot up to the sky. In this way they increased the apparent height." The inscriptions on the south side of the tower's base reminded us of the Exposition's meaning, Conspicuously and properly emphasized here.
With the end of the yellow period came three months of pink flowers, to be followed in the closing third of the Exposition's life by a show of variegated blooms. This marvelous sequence of flowers without a gap is not the result of chance, or even of California's floral prodigality, but of McLaren's hard-headed calculation.
In general, the paintings and sculptures made famous by time are not in the Fine Arts Palace. Its rooms are mainly filled with the latest work of artists of the day, exhibited under the Exposition's rule which limits competition in all departments to current production.
Imposing as the central accent of the Exposition's architecture Its magic glow at night A magnificent Roman arch "Jewels" of the Tower An historical landmark Inscriptions, sculpture and murals Fountains of "Youth" and "El Dorado" An epitome of the Exposition's art. The Tower of Jewels, Carrere and Hastings, architects, is the central structure in the Exposition architecture.
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