The San Diego Garden Fair - Committee of One Hundred

THE SAN DIEGO GARDEN FAIR

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·THE SAN DIEGO'....GARDEN FAIR-_.~PERSONAL IMPRESSIONSOFTHE ARCHITECTURE, SCULPTUREHORTICULTURE, COLOR SCHEME& OTHER AESTHETIC ASPECTSofthe PANAMA CALIFORNIAINTERNATIONALEXPOSITIONByEUGEN ~UHAUSASSISTANT PROFESSOR OFDECORATIVE DESIGN, UNIVERSITY OFCALIFORNIA· AUTHOR OF THE ART OF THEEXPOSITION "., THE GALLERIESOF THE EXPOSITIONPAUL ELDER AND COMPANYPUBLISHERS· SAN FRANCISCO

ArchilealJreT.....COPYRIGHT, 1916, BYPAUL ELDER & COMPANYSAN FRANCISCO

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Publisher's AnnouncementThe great success of the two books by Mr. Neuhauson the Panama-Pacific International Expositionat San Francisco last year and the continuationof the Panama California International Expositionat San Diego into the year I9I6 were thedirect causes of this book, which it is hoped will berectirJed with the same generous appreciationas the othersMarch I, I9I6

CONTENTSPAGEINTRODUCfION . . . XIThe setting, the first impression.THE HISTORICAL BACKGROUND . . . . 3The romantic events and adventures of the early days ofCalifornia.THE GENEALOGY OF THE ARCHITECTURE 14.The influences which contribute toward the Expositionarchitecture.THE BillLDINGS. . . . . . . .. 25The interrelations of the ensemble and the color scheme.THE GARDEN ASPECfS . . . 59The horticultural and other outdoor features.APPENDIX. . . . . . . . . 77Biographical notes. The ground plan and guide.[VII]

LIST OF ILLUSTRATIONSrACING PAGEView of the Exposition from Balboa Park (FrrmtupUu)Mission San Diego de AlcalA . 6The California State Building. . 8The outer walls from the Palm Cafton 10The Puente Cabrillo from below . . . . . 12Over the Puente Cabrillo towards the Exposition 1.The Entrance to the California Quadrangle 16The Fa9ade of the California Building 18Along the Prado. . . • . . . 20Window detail of the California Building 22Nightshade Irowinl on the Arcade . . . . . . 26East Balcony in the Refectory of the California Building 28Glimpse of the Montezuma Garden - the Tower of the IndianArts Buildinl in the distance . . . . . . . 32West Balcony in the Refectory of the California Buildinl 3.Patio within the Science and Education Buildinl 36The Altar in the Serra Chapel • 38The Commerce and Industries Building - the Laluna in theforelround . . . . . . • . . •The Food Products Building .• ....a.2The Arcade of the Science and Education Building ..The Food Products Building from the Botanical Garden - theLagunita in the foreground .. ~The Orlan on the Plaza de los Estados 48Decorative Flower Urns on the Prado . . . . . . . . 50The Towers of the Food Products Buildinl on the Calle Cristobal 52The Fountain in the Botanical Garden 54The Pigeons on the Plaza de Panama . 56The Southern California Counties Buildinl. . 60In the Patio of the Science and Education Building 62The Sacramento Valley Building . 66A Path behind the Buildings . . . . . •. . • 68The Food Products Building, seen from the rear of the SouthernCalifornia Counties Buildin~ . . . . . . . . . • 70The Pergola in the Botanical Garden 72The Pan Fountain . . . 74Ground Plan of the Exposition 80[IX]

INTRODUCTIONTHESan Diego Exposition has many timesbeen spoken of as a little gem, and while thisdescription may savor of the colloquial, it is thebest possible complimentary characterization. Agem indeed it is, not alone for the lustre of itsarchitecture but largely for the splendor of its setting,which gives it a most unique distinctionamong expositions past and recent.We observe here at San Diego for the first timeasetting, a natural site, which on all sides gentlyandlogically connects with the surrounding country.In the olden days, and even yet in recent days,exposition sites have often been selected like theconventional baseball field, by choosing a remoteand undesirable piece of land which held out noattractions other than those temporarily transplanted.They seldom approached their immediatesurroundings in a reverent and sympathetic way.In the old days it has too often been an ordeal toapproach expositions - it seemed as if the mostdisreputable parts of towns - the slums - themost depressing sights of the town, had beenselected to tune up the visitor in his approach forthe more eesthetic sights within the gates. It hasbeen that way with some of our recent expositionson the American continent, particularly wherethere was no other choice.Here in San Diego this is delightfully different- one does not even know where the Expositionreally begins. An enchanting park, beginningalmost in the heart of the city, stretches toward theExposition, affording distant glimpses of the archi-[XI]

INTRODUCTIONtecture here and there, and if it were not for theultimate unavoidable conventional turnstile, thephysical boundaries of the Exposition would ntfJerdisclose themselves to the expectant visitor. I hadthe feeling of being in the Exposition grounds long,long before the dropping of the obolus disillusionedme. There are no fences nor hedges - at least novisible boundary lines - to remind one of thephysical separation of the Exposition and the city.Indeed there is none, and it is this nOfJel conditionwhich is so conducive to preserving one's mentalequilibrium, which so often is disturbed after onehas been pushed from the bleak outside into thepresence of the wonders of an exposition.There is absolutely nothing startling about theSan Diego Garden Fair. It is a haven of restavast retreat - it acts like a tonic. The firstglimpses one catches of its architectural aggregate,and particularly of the tower, are like a vision ofromance. I thought of Maxfield Parrish and thethought never left me. Crowning a distant ridge,approached by a bridge ofmonumental proportions,one sees the unique architecture of the tower, themost successful architectural unit of the entireExposition. Immediately adjoining and a partof the scheme, other light buildings lose themselvesamidst the subtropical verdure of this amazing.garden. . The whole impression one gains is thatof a vast private estate of an immensely richSpanish grandee, rather than of a modern exposition.It is a sumptuous array - most impressiveto the eye merely as a decorative feature. Ithas a distinct character which is due to the happycombination of a distinct type of architecture,reviving the resplendence of the Spanish-Mexican[XII]

INTRODUCTIONbaroque and titt more simple form of the Missionstyle of New Mexico and California, both associatedwith the romantic events of the early historyof America.Whatever one may call it historically, it may besaid that many of the buildings seem very successfulin the strictly historical impression they create. It isvery difficult to beliroe that the charming paradisewhich holds the Exposition buildings at one timewas a dry mesa - a tableland overgrown withchaparral and overrun by coyotes. One has toknow what can be done with a southern Californianclimate and an abundance of water in order toappreciate the luxuriousness of that carpet ofverdure which has been spread over the formerlybarren hills. Fragrant with the penetrating odorof the acacias and the perfume of hundreds offlowers, these hills are a solid mass of every typeofshrub and tree that grows in a salubrious climate.I know it is generally considered in poor tasteto speak of climate in relation to California, but Icannot help but speak of the truly ideal weatherconditions I encountered during my visits, bothin May of I9I5 and in January of I9I6. Suchskies and soft breezes - they are not the lot ofmortals everywhere. No wonder the people atSan Diego are optimistic enough to want to extendtheir Exposition into another year. Since it doesnot in any way interfere with the use of valuableproperties needed for other purposes, let alone thecontinuance of the pleasure the Exposition affords,it would have been regrettable to have adhered to theoriginal one-year plan.[XIII]

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'rHE SAN DIEGO GARDEN FAIR

THE HISTORICALBACKGROUNDTHEphysical remoteness of San Diego fromthe rest of the world and the lack ofknowledge of the history of the extreme west socommon with the ~eneral masses, make it almostimperative to pomt out a few of the moreimportant facts in the very romantic history ofthis part of the world. Moreover, the rightfulclaims of San Diego to celebrate with suchconspicuous success the completion of thePanama Canal are based on very interestinghistorical facts which go back to the discoveryof the Isthmus and the many subsequent explorationswhich at last brought white settlementto San Diego.Four hundred and three years have passedsince Balboa, on his westward journey, foundhimself barred from further manne explorationby the Isthmus of Panama. His achievementmust be measured by the record of Columbusin his journey of 1492, about twenty years beforehim, in reaching the little island of San Salvador.In crossing the Isthmus Balboa looked downupon the placid blue waters of the PacificOcean, which he claimed, with all adjacentlands, as the property of His Majesty theSpanish King. It was a rather extravagantprocedure, but the good Balboa was not restrictedm his claim by the slightest knowledge of the[ 3 ]

THE HISTORICAL BACKGROUNDvastness of the ocean or the lands constitutingits shore. It took some time, about anothertwenty years, before an expedition went toinvestigate the magnitude of Balboa's claim.They went north to see what these mythicalproperties were. A Portuguese, Juan RodriguezCabrillo, a man of adventurous mind, in theservice of Spain, headed the party, and we learnfrom our historians·that in the year 1542 hesailed into what is now San Die~ harbor. Fora long time it was called San Miguel, and notuntil many years after was the name San Diegogiven to it, a name it still holds.Early in the next century, in 1602, Vizcainoand his band. formed the second party to runup the west coast of the North American continent.For chronological comparison it may bestated that this was at a time before Samuelde Cham~lain carried the Lilies of France upthe St. Lawrence and up the Richelieu intowhat is now American territory, exploring thelake which still bears his name. Vizcaino hadeven landed before Hudson carried the Dutchflag into New York harbor and before theEnglish pilgrims landed at Plymouth and startedthe English colony in New England. In thatway the history of the western coast had a veryea!:ry beginning.Unfortunately the state of affairs in Spain inparticular and In Europe in general was such asto give very little·promise for the early developmentof these remote Spanish possessions.Internal dissensions and troubles in other colonieswere the direct cause. Moreover, to makematters worse, extensive European wars con-[4]

THE HISTORICAL BACKGROUNDtributed to the delay, and it was not until 1769that a really important expedition left Mexicooverland, with Portola in charge. While onformer occasions these expeditions were made upof the most adventurous characters, Portola sexpedition had the great good fortune of havingas its member the inspired priest and energeticworker Fray Junipero Serra.Only a few years ago the citizens of San Diegowished to honor him by raising a giant crossmade from the stone found in the crumblingruins of the old mission which he had built andwhere he had sung the first mass in 1769. Thecommittee in charge of the ceremonies wascomJ>osed of people of all creeds, proving thatnot Catholic alone recognized the splendid spiritof that old Franciscan. The name of Cabrillo,the discoverer, we find perpetuated in bridgesand plazas, but to Serra, the modest priest, thecivilizer, are other monuments. These are thetwenty-one Missions that line El Camino Real,the King's Highway, seven hundred milesstretchingfrom San Diego to Sonoma, north ofSan Francisco. His monuments are the palms,the olives, the ranches, the civilization of Californiaand the far West. Junipero Serra hadbeen an active soldier of the church since boyhood.He was fifty-six years old when Spaindecided to make use of the territory which hadlong been hers by right of discovery and whichshe was in danger of losing. Because of hislabors in New Spain he was sent along with thesoldiers to make permanent settlement in thenew land at the north of which the discoverershad told. When the expedition was about to. . [ 5 ]

THE HISTORICAL BACKGROUNDstart he was delayed by an injury to his footaninjury from which he never fully recovered.A party of soldiers sailed from La paz onJanuary 9, 1769, aboard the San Carlos, anotheraboard the San Antonio in February, and athird aboard the San Jose still later. This lastone was never heard of a~ain. On land, twoparties set forth. The cnppled priest blessedthem as they left, and went back to his bed toawait the healing of his foot, and on!y a fewdays later followed after them, to join GovernorPortola. Two days after his arrival he wroteto a fellow priest at home:My Dear Friend and Sir:Thank God, I arrived the day beforeyesterday at this port of San Diego, truly a fineone and with reason famous. Here I found thosewho had set out before me, by sea as well as byland, except such as died on the way. Thebrethren, Fathers Crespi, Pizcaino, Parro, andGomez, are here and with myself all well, thanksto God. Here also are two vessels, but the SanCarlos is without seamen, all having died exceptone and the cook. The San Antonio, altho1l.gh shesailed a month and a half later, arrived. twentydays before the San Carlos, losing on the f70yageeight seamen.Inconsequence of this loss the San Antonio willreturn to San Bias, to procure seamen for herselfand the San Carlos. The causes of the delay ofthe San Carlos were, first, the lack of water, andsecond, the error in which all were respecting thesituation of this port. They supposed it to be inthirty-three or thirty-four degrees north latitude,[6]

MISSION SAN DIEGO DE ALCALADigitized byGoogle

THE HISTORICAL BACKGROUNDand strict orders were girJen Captain rila and therest to keep out in the open sea until they shouldarrirJe in thirty-four degrees, and then make theshore in search of the port. As, howroer, the portreally lies in 32 degrees 43 minutes, according toobseroations which harJe now been made, they went .far beyond the port, thus making the rJoyage muchlonger than was necessary.The people got daily worse from the cold and thebad water; and they must all harJe perished if theyhad not discorJered the port about the time they did;for they were quite unable to launch the boat toprocure more water, or to do anything whaterJer fortheir preseroation. The Father. Fernando didroerything in his power to reliroe the sick; andalthough he arrirJed much reduced in flesh he hadnot the disorder and is now well. We harJe notsuffered hunger or prirJations, nor harJe the Indianswho came with us. All harJe arrirJed fat andhealthy.The tract through which we harJe passed isgenerally rJery good land, with plenty of water;and there as well as here the country is neitherrocky nor orJercome with brushwood. There are,howroer, many hills, but they are composed ofearth. The road has been in many places good,but the greater part bad. About half way therJalleys and banks of rirJUlets began to be delightful.We found rJines of a large size and in some casesquite loaded with grapes. We also found abun-. dance of roses, which appeared to be the same asthose of Castile. Infine, it is a good country, andrJery different from that of Old California [meaningthe Peninsula].We harJe seen Indians in immense numbers,[ 7 ]

THE HISTOllICAL BACKGllOUNDand all those on this coast of the Pacific contrirJe tomake a good subsistence on rJarious seeds and byfishing. This they carry on by means of rafts orcanoes made of tule [bullrush] by which they go agreat way to sea. All the males, old and young,go naked. The women, howerJer, and erJen thefemale children, were decently cOrJered from theirbreasts downwards. We found in our journey, aswell as in the places where we stopped, that theytreated us with as much confidence and good willas if they had known us all their lirJes; but whenwe offered them any of our mctuals they alwaysrefused them. All they cared for was cloth, andonly for something of this sort would they exchangetheir fish or whaterJer else they had.From this port and intended mission of SanDiego in northern California, 3rd july, I769, Ikiss the hands of Your RerJerence, and am youraffectionate brother and seroant.Fr. junipero Se"a.A story sometimes told is that the soldiermembers of his party turned out to be lessworthy ofreliance than one might have expected,and when the promised reinforcement did notarrive, they became weary and disheartened andultimately demanded to be returned south.Fray Serra implored the leader for delay, withscant success, until things became rather critical."One more day," was Father Serra's plea, andthe day was reluctantly granted. It was allthey were willing to glve, and if no supportshould arrive after that d~ they would all go.In his great predicament Father Serra went tothe crest of the hill back of the camp and prayed[ 8 ]

THE CALIFORNIA STATE BUILDINGDigitized byGoogle

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THE HISTORICAL BACKGROUNDall through the afternoon, until the ~olden raysof the setting sun began to lose their splendor.In despair he cast one more forlorn glance outupon the sea, and sure enough there was a sightwhich caused his sorrow to vanish. The nextminute he was rushing down the hill into camp,shouting and weeping with joy. Back up thehills the soldiers dashed, and when they too sawthat Father Serra's wish had been fulfilled, therewas no more talk of immediate return, and whenthe relief expedition came into port, it turnedout to be a large body who had lost their way,mistaking the charts. Cruising up and downthe coast, they had looked in vain for the harbor.Naturally Father Serra, as a truly religious man,pronounced it a miracle, and if it really happenedthat way, perhaps it wastIn this way the little settlement became permanent.The little Mission which he had builtat the Presidio hill was abandoned and severalmiles up the valley was founded the Mission ofSan Diego de Alcala - the first mission onCalifornia soil- on the sixteenth of July, 1769.This laid the foundation of that long chain oftwenty-one missions which marks the progressof the northward march of the Christian civilizationof the Franciscan padres. About everyforty or fifty miles the missions grew up, tooffer the weary wanderer a resting place aftera full day's journey.The entire character of the Exposition, architecturallyspeaking, is so intimately connectedwith the Missions of Mexico and California thateven the barest outline of the growth and pro~ressof these peculiar centers of civilization IS[9]

THE HISTORICAL BACKGROUNDof much assistance in doing justice to theromantic character of the San Dlego Fair.The San Diego Mission was not allowed toenjoy an uninterrupted peaceful existence becauseon a November night in 1775 a large andbloodthirsty band of interior Indians, about athousand strong, attacked the Mission and setfire to the chapel and other buildin~. Duringthe attack Father Luis Jayme, a Franciscan,and a number of others were killed. While thebuildings were burning Father Jayme, accordingto historical reports, is said to have walkedright out to the wildest group of savages, extendinghis usual greeting, "Children, love God I"The Indians allowed him to come within a fewfeet, and then riddled his body with arrows.They threw his body into a little olive orchard,which is still standing and bearin~ fruit. Withinit today is a low wooden fence wlth a plain crosswhere sleeps the first Christian martyr of California.Down the valley stands the last of thepalm trees which Serra set out, apparently 'goodfor many years to come. Almost in its shadesleep the Spanish soldiers who succumbed tothe long wait for the relief party.When Father Serra returned from a northernjourney, instead of being discouraged he set outwith accustomed zeal rebuilding the Missionand then went on a~ain to the north, foundingmore missions along EI Camino Real, the King'sHighway. He never returned.There is a great wealth of romance in historyof that sort and when one studies the history ofsouthern California, one finds that many finetraditions, the love of beauty, too, are a part of[ 101

I.THE OUTER WALLS FIlOM THE PALM CA~ONDIJltILF~byGoogle

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THE HISTORICAL BACKGROUNDthe old Spanish civilization. It was apparentlythe realization of that beauty, almost forgotten,which impelled the San Diego Exposition torevive in its architectural scheme not the conventionalforms of classic traditional art souniversally used at expositions, but the typepeculiarly belon~ing to California and reachingback to the glOrIOUS period of its inception.Before allowing oneself the 2}easure of historicalanalysis of the Spanish-Mexican style, afew more excursions into the field ofthe activitiesof the Spanish missionaries may be allowed,since a proper understanding of their own atmosphereis so helpful in contemplating the beautyof the general character of the Exposition. Itshould be remembered that Father Serra'sindomitable will power not only led to theestablishment of the first Mission in California,but also laid the foundation for a generalChristian civilization on the whole Pacific Coast.It was he who snatched from the darkness andi~norance-of heathendom an entire savage race,hfting it into the li~ht and intelligence of thecivilization of Christianity. The story is all themore wonderful because of the fact that theIndians of California, when found by the Franciscansin the year 1769, were really verydegraded physical beings, and mentally apathetichuman creatures. A more hopeless task wasnever attempted by the agencies of religion andcivilization, yet the results were astoundingwhen one bears in mind the difference of languagewhich had to be overcome - a differentdialect in almost every village. Most of theseIndians had never learned to clothe themselves.[ 11 ]

THE HISTORICAL BACKGROUNDTheir physical and moral habits were filthy, andthey were saved from annihilation only by thekindness of the climate in which they lived.From this pathetic material the Franciscanmonks made semi-civilized men and women.They taught them to sing, to play upon musicalinstruments, to carve in wood and pamt pictures.The most important result of this relativelyshort period of instruction was the making ofthe Indian into an agriculturalist of more settledhabits.These diversified activities were the purelysecondary gifts of these brown-robed Franciscans,who were first of all the able agents ofthe Spanish crown, assisting in political plans ofterritorial expansion, and who were looked uponby the government in the many other thmgsthey did along the line of domestic arts andsciences as means to the end. The earliest daysof the Franciscan. Fathers in California were thegreat days ofthe Catholic church in Europe, andwhatever was done for the colonial expansionof the Spanish possessions was done also in thename of the Church. The spread of .politicalinfluence was, however, the moving force, andto convert the heathen, like everything else,must be looked upon as incidental. Neverthelessthe activities of the soldiers, colonists,and padres in the early days constitute thehistorical background of the west coast of thisgreat continent and form also the exclusive basisand romantic foundation of the San DiegoExposition.The entire display reflects the Spanish Colonialstyle, of which the Missions of Fray Juni­[ 12)

THE PUENTE CABlILLO FROM BELOWDGoogle

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THE HISTORICAL BACKGROUNDI!ero Serra were one type. The San DiegoExposition, open all the year around, thanks toa climate that is practically unchanging, has agreat amount of the practical, but it is rich inromance and historical association.[ 13 ]

THE GENEALOGY OFTH E ARCHITECTURETHE architectural style of the San DiegoExposition is general!y referred to as eitherthe Mission Style or the Spanish-Mexican. Tomost people the meaning of that s~called"Mission Style" is very vague, and I do notbelieve that much systematic education of ourpeople has ever been attempted to set right intheir minds the true meaning of this muchabused term. To a great many it is an originalproduct of California, absolutely detached fromany style of the past - to others a recent productionof the Stickley Brothers furniture plant.On closer investigation it presents, however, suchfascinatin~ genealogy that I am tempted to losemyself in It for a while, because I believe it willvery materially assist in an resthetic appreciationof the Exposition ensemble, and alsolead back into the realms ofthe Spanish-Mexicanstyle, of which it is an offshoot.It is not fair, in my estimation, to use theword "style" in connection with the architecturalefforts of the Spanish padres, since their workwas not the evolution of an original architecturalexpression. First of all, these men were noarchitects, nor even men of special artistic perception,their efforts in buildmg being directedsolely towards the erection of a shelter. Thesestructures were of profound simplicity in them-[ 14]

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THE GENEALOGY OF THE ARCHITECTUREselves and curiously devoid of the heavy ornamentationof the parent style - the SpanishColonial of Mexico, from which they weredirectly derived. This intimate connection witha gorgeously decorative style may seem impossibleat first glance, since the most pronouncedcharacteristic of the Spanish Colonial style is aluxurious ornateness, suggesting at times greatsplendor, while the frugality of the Missionstyle revives memories of the very earliestarchitectural efforts of prehistoric times in itsrestriction to simple constructive forms andabsolute lack ofornamentation. But this apparentinconsistency can be explained only by thefact that these monks were no architects andthat all they could do was to -'produce a veryfeeble picture ofthe glory ofthe Spanish Colonialstyle, with its rich bac~ground, of which weshall hear more. These Missions are but a verynaive attempt, at best unpretentious and unaffected.But it is this naivete - the lack ofknowledge of the truly artistic features of theparent style - which IS their savin~ ~race.The day will come, and I hope It IS not toofar off, when we out here shall use money liberallyto restore to their old naive dignity thesememorials of one of the most romantic periodsin the history of California, if not of America.I hope that the day of the California MissionRestoration Committee, free from politics, withsufficient money, and composed of the bestarchitectural talent in the land, may not bepostponed too long to rebuild more solidly thanever these twenty-one centers of Christian civilization.Situated, as they are, on salubrious[ 151

THEGENEALOGY OF THE ARCHITECTUREelevated places, often overlooking the fertilevalleys leading into the back country, theywould become increasingly attractive and asource of great wealth to the State. To travelup and down the state and observe the spasmodicattempts at often incorrect restoration isonly a mixed joy, and nothing less than a wellorganizedattempt will ever insure the rebuildingof these quaint and picturesque landmarks.It would be so easy, technically speaking,with our modern improved methods of concreteconstruction, to set up again the crumblingadobe walls with reasonable guarantee of theirpermanency. The money spent in the twoCalifornia expositions would have gone a longway in the reali~ation of this project. Nocomplicated mosaics of problematical meaningnor intricate glass windows need be revived,because these buildings were singularly devoidof the detail which makes Old World styles sodifficult of restoration. This simplicity wasprobably not intentional, but rather the resultof enforced artistic economy, for lack of skilledartisans and artists. However, here and therean altar piece tells of vague recollections of theboldness of the gorgeous Spanish Baroque decorationwhich the artist carried into Mexico andwhich we see so notably interpreted in the Serrach~el of the California Building.The Mission style is a simple, purely constructiveexpression of the ornate glories of theSpanish colonial, but as far from the sumptuousnessof the original as a wooden toy horse isfrom a real live animal. The barest constructivefeatures have been preserved, and the rest[ 16]

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THE GENEALOGY OF THE ARCHITECTUREhad to be omitted, by force of circumstances.Even constructively, the height of the greattowers of the Mexican churches is nowhere visiblein any of the Missions, because to buildhigh is possible only when engineering adviceis available, and engineers the padres were not.Most of their towers did not survive the spasmodicearthquakes of California.Reaching backward to the great edifices ofthe Spanish-Mexican period, one is astonishedat the wealth of variety of architectural influencewhich manifests itself in these buildings.Ima~inative in form, full of the most wonderfuldetal1, they revive in our minds the glories ofmany great periods of the past. All the manyinfluences which were active at one time inSpain and which stamped the indelible marksof their art on that country are suggestedparticularlythe Moorish-Arabic strain, whichleft so many picturesque landmarks in Spain.Back of these Mexican buildings is almost theentire history of architecture, owin~ to verypeculiar conditions which prevailed In Europeat the time of their production. Baroque,that florid and sometimes degenerate expressionof the revival of the classic Greek and Romanarchitecture, was at its height in Europe duringthe great days of the Spanish world empire, andin the search for the decorative material inwhich it abounds it made use, particularly inSpain, of all the many decorative features whichit could draw upon in Europe. as well as in theOrient. The Byzantine influence, simplified inthe great St. Sophia of Constantinople, is oftenmanifest. Built under the European Justinian,[ 17]

ITHE GENEALOGY OF THE ARCHITECTUREduring the sixth century, originally as a place ofChristian worship, this great Byzantine temple,still one of the chief wonders of the world, hasserved to inspire many of the Spanish-Mexicanbuilders. Its really simple form of construction,consisting of a great central dome resting onfour mighty arches, has found its way into thefundamental form of the California State Building.Even that peculiar indefinable creation,St. Mark's in Venice, has left its impressionupon the architecture of Mexico.Overrun by the Moors in the eighth century,Spain suffered the introduction of an Orientalnote in its European architecture which~ave ita character unique among the nations of Europe.So firm was the hold of these invading Moorsthat they 10I!g controlled the artistic civilizationof Spain.Establishin~ capitals or. seats ofgovernment at convement places, their mostformidable creation was the fortified palace atGranada. Eventually, in 1492, by the captureof this stronghold the Spanish regained possessionof their lap.d, destroying Moorish rule butnot Moorish art. The praying towe~s theMoors built with their mosques were the chief.charm of their imaginative architecture, and theGiralda at Seville is recognized as one of thegreat towers of the continent. Many towerswere built in Spain and Mexico, finally culminatingfor us in San Diego in that successfulemphasis of the Exposition in the tower of the.California Building. The colored tile so typicalofthe Spanish colonial is traceable to the Moors,who were fond of the liberal use of this highlydecorative material. Another typical note of[ 18 ]

THE FA9ADE OF THE CALIFORNIA BUILDINGD t Google

THE GENEALOGY OF THE ARCHITECTUREArabic work was their great simple expanses ofplain wall surfaces, broken only here and there,as need demanded, but always most picturesquelyemphasized by windows, great andsmall. The mosques in Algiers show thesecharacteristics very plainly. There is no end toMoorish influence. Attention should be calledto the fine carved doors of the California Building.The Moors were very skillful in this handicraft,and the character of their work has beengiven to this interesting door. Again, the cleveruse of water in picturesque bits in connectionwith their architecture was another charmingasset. The pool in front of the Botanical Buildingcarries out this unusual detail, as we shalllater see, with striking results.At the time of the conquest of the Moors, atthe end of the fifteenth century, the Renaissancehad blossomed into full bloom in Italy and itsinfluence was being felt throughout Europe.The Gothic influence, never very strong in thesouth of Europe, found an expression in Spainin that luxurious style called the Flamboyant.The Gateway at Valladolid is a good exampleof it. It was only too natural that when theSpanish revived building operations in NewSpain, at the beginning of the sixteenth century,their work should follow the newly felt Renaissance,retainil!g, however, much of the Moorishand Gothic. This combination, beautiful in theextreme, has been called the "Plateresque," thatis, the Silversmith's, on account of its lacyqualities. It prevailed until the accession ofPhilip the Second, in the middle of the sixteenthcentury, and cropped out occasionally after-[ 19]

THE GENEALOGYOF THE ARCHITECTUREwards. One of the most beautiful buildings inthis delicately membered style is the Hospitalof Santa Cruz at Toledo - a rare balancing ofproportion and graceful detail. This we seerecalled in the Foreign Arts Building. At thistime magnificent churches were being built inMexico, very much in keeping .with the Plateresque.In a measure the tower ofthe CaliforniaCathedral recalls somewhat the fine towers ofthe Cathedral at Morelia, Mexico, built in thisstyle. Another striking example of the earlySranish Renaissance we meet with in the windowo ;the Prado Fa~de of the Science and EducationBuilding. The detail of the windows istaken, though' somewhat changed, from thetower of the cathedral at Murcia, and it showshow much simpler the Renaissance became asit developed in Spain.The comer tower of the Home EconomyBuilding comes a little later in the sequence ofthe fulanish Renaissance. It was adapted fromthe Tower of the Casa de Monterey at Salamanca,Spain. This building may be called agood example ofthe middle period ofthe SpanishRenaissance, celebrated for the activities inSpain of the architect Churriguera, who introduceda personal note into the style which hasbecome recognized as the Churrigueresque. Itis analogous to the Baroque in France and Italy.If analyzed closely from an architectural pointof view, it often seems bad and degenerate, likeother Baroque, but one cannot deny its forceand sometimes great beauty of form and proportion.The Churrigueresque prevailed duringthe great building periods in Mexico during the[20 ]

ALONG THE PRADO[' zee bVGOOgle -

THE GENEALOGY OFTHE ARCHITECTUREseventeenth and eighteenth centuries. It wasoften combined with Moorish and native Mexicandetails, assuming a most unique character.The Sanctuary, a part of the Cathedral in theCity of Mexico, is generally considered the leadingexample. Turning to the Exposition wehave a tame form of this style in the northfrontispiece of the Indian Arts Building, on thePrado. Another more elaborate example maybe seen in the frontispiece of the Science andEducation Building, on the Plaza de Panama.The south front of the Varied Industries Building,typical of the style in its most ornamentedform, recalls the patio of St. Augustine atQueretaro, Mexico, built in the middle of theeighteenth century, one of the latest examplesand one of the most ornate and undisciplined.Again we recognize the ornate chapel fa9ade onthe adjoining building - the Food Productsasanother of the many reflections of this style,remarkable for its variety, boldness, and disregardfor conservatism.It would be interesting merely to outline, even,the influence of the Franciscan order upon thearchitecture of Italy, Spain, and Mexico, andfinally upon the American Southwest. Sfacewill not permit this pleasure, and it wil besufficient to say that the influence of these quietpreachers was toward simplicity and stability.In Mexico one of the most important examplesof what might be called the Franciscan style isthe Sanetuario de Guadalajara, a building whichstrongly influenced the Franciscan Missions inCalifornia. The simple east front of the IndianArts Building is in the same style, even to the[21 ]

THE GENEALOGY OFTHE ARCHITECTUREdissimilar treatment of the bell-tower. Thetower at the west side of this building belongsto the same period. Growin~ out of this style,then, we have the Califorma Missions~ withwhich most Californians are familiar.Bearing in mind all this rich store of historicalreminiscence, one must claim for the San DiegoExposition that it is unlike any that precededit - a claim which becomes justified when oneconsiders that it marks a new departure in theplanning of fairs. All past Expositions, likethose held in Chicago in 1893, recreated a typewhich had been used universally and which goesback to the first successful great Exposition, thatof 1889 at Paris. The plan of this Paris Expositionconsisted largely of a symmetrical andmonumental arrangement of buildings. However,the Chicago fair gave American architectsa new impetus by showing the effects of longrows of orderlr colonnades, of large open spaces,and in genera by a demonstration of the monumentalthat was quite new in this country. Thegeneral scheme at Chicago developed a successionof similarly ~lanned fairs, of which thePan-American at Buffalo. and that at St. Louiswere the most characteristic. All of these Expositionswere reminiscent of the prize problemsof the Beaux Arts School at Paris, and one can­.not help coming to the conclusion that there wasmuch of the paper design, of T-square andtriangle character, about these buildings, incomparison with such uniquely shaped aggregatesas at San Diego. The influence of thesegreat past Expositions becomes immediatelyevident in the grouping of ~ur public buildings[22 ]

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,-THE GENEALOGY OF THE ARCHITECTUREin and around a central public square. Theylaid the foundation for our first attempts inmunicipal city _planning, as expressed by theCivic Center. The note of intimacy, the properrelation to the immediate surroundings, is notalways in evidence in these monumental arrangements,and a comparison with the city pictureof the San Diego Exposition will disclose themore intimate side of city planning, the bywayswith their fountains, the glimpses of secludedgardens through the arches of colonnades. TheChicago, St. Louis, and Buffalo Expositionswere a glorification of the monumental in cityplanning, while at San Diego is the apotheosisof all those elements of charm and variety thatwe associate with the cities of Spain and Italy.Here is the varied symmetry of the Latin cities,in the glorification of the romantic in cityplanning.Architecturally the style of our fairs in thepast had no native significance. Our ownAmerican architectural inheritance had notheretofore yielded anything when expositionswere built. The Colonial style is· too muchdevoid of the monumental, and besides, its quietsoberness does not contain that festive elementone looks for on occasions of rejoicing. So wehad to turn to strictly European sources, andthat meant often to French books. When thePanama-California Exposition was first underconsideration, it was only too natural thatpopular feeling should have suggested ,the Missionsof California. But the opinion of theAdvising Architect suggested that, in spite ofits undeniable charms, this style was entirely[23 ]

THE GENEALOGY OFTHE ARCHITECTUREtoo limited in its decorative resources. The~panish-Colonial style of Mexico, of which ourMissions are an outgrowth, was then decidedupon, not only because of its historical significancein California, but because it is mostsuited to'the climate, and also has all the gaietyand color so essential to the success of a fair.This question of appropriateness in the choiceof an architectural style for an exposition hasseldom been taken into account before, eitherin our own country or in Europe. There havebeen some incidental exceptions at some of ourmodern Italian expositions, but nowhere hasa' historical style been so consistently maintainedas at San Diego by the use of the Spanish­Mexican style of architecture - the most glorioustemperamental architectural expression tobe found on the American continent.[24 ]

THEBUILDINGSANinvestigation of the artistic features ofthe Exposition will naturally begin withthe great bndge - the Puente Cabrillo. However,before indulging in any enjoyment of thisstructure, one naturally at this point becomesinterested in the plan of the Exposition, anticipatingthe opportunity of seeing the entire layoutlater on from the bold perspective of thetower. Expositions in recent years have becomeso readily the experimenting media of the imaginativeCIty planner, that here in Sa,n Diego onehas the feehng of a successfully attempted demonstrationofa well-planned city. It is this featurewhich has given modem expositions a valuewhich they did not possess in the old days andwhich sometimes atones in a measure for thelack of permanent features most expositions unfortunatelyshow.The arrangement at·San Diego is not symmetrical,owing to the undulating nature of thecountry on which the fair is built, a site whichoffers certain physical points of emphasis. Sowe find that beginning with a straight east-westaxis, in which the great Cabrillo Bridge participates,we have about in the middle a traversingminor axis of different lateral length on eitherside. I t is very interesting, and almost necessaryto one's onentation, to fix that plan in one's[2S 1

THE BUILDINGSmind. The general character of the ensemble isso compact and well defined that a digest of theExposition plan does not offer half the usualdifficulties. The Exposition has two entrances,east and west. Originally the east entrance wasintended to be the main entrance, owing to itssuperior transportation facilities, connecting itdirectly with the city over a very interestingtree-lined route. But now this main entrance,curiously enough, has become the main exit, andthe great Cabrillo Bridge, over the canon by thesame name, has become the well-estabhshedprincipal entrance of the Exposition. Thereasons for this change are purely resthetic, sincenobody cares to be introduced into the circle ofa charming family by way of the kitchen andutility end of the house. On the east are all theutility features - Fire House, Hospital, Restaurant- while on the west an ideal and unobstructedapproach i~vites a generous andcomprehensive view of the great Spanish walled·city on the hills. It shows how resthetic reasonswill sometimes conquer practical ones, even ina country universally defamed as a land of soberrealists.The sumptuous proportions, the proud dignityof the bridge, encourage great expectations, andone is not disappointed. While admiration isaroused for the engineering skill which made thisbridge possible, the thought persists that thereal architect of this colossal concrete viaductwas a much high6r power than the official engineer.The one who raised the mountains, whodictates the course of streams, and who governsthe cosmic all - he it was who separated the[26 ]

NIGHTSHADE GROWING ON THE ARCADECoogle

THE BUILDINGStwo ridges which are connected by this typicapiece of American concrete engineering. Itsmost impressive feature, after all, is its size,since neither engineer nor architect nor evendecorative designer ever endowed this bridgewith anything but its mere constructive charm.This ought to be entirely enough, and any:Esthetic appeal made by mere constructive formis far more lasting and impressive than thesuperimposed beauty of architectural ornamentation.However, in the case of the PuenteCabrillo it does not seem quite enough, particularlyafter retracing one's steps from theornateness of the Exposition proper to whichthe bridge leads. I feel the engineer shouldhave yielded his work to the architecturaldesigner, who might have enlivened the somewhatcold and untemperamental viaduct in morethan one way without disturbing its big feeling.From below the top seems unfinished - noevidence of a railing or perforation of the edgeby means of a balustrade, nothing to indicatethe scale ofthe many human beings who"traversedaily this seven-arched span. I am glad for theseven arches. Nothing IS more disturbing thanthe definiteness of even numbers as comparedwith the suggestion of indefiniteness which comeswith uneven numbers. Seven looks like morethan just one more than six, and in the higheruneven numbers this is even more indicated.This may have something to do with the factthat things in even numbers we count in pairs,but the seven arches of the Puente Cabrillo wecount one by one. How one span might havelooked is worth thinking about. It would have[ 27]

THE BUILDINGSbeen even more impressive as an engineeringfeature and besides have given less the feeling,particularly from a distance, that the bridgemight be a dam. I t is an interesting feature ofthis bridge that it encourages one to mentalspeculation as to what might be the result ifthis, that, or the other thing might be done withit. From below I longed for a few hundred feetof open balustrade to interrupt the almostmonotonous straight edge of the top, which, ifI had not known its purpose, I would have takenfor an aqueduct. While I respect constructivecharm above everything else, a trace of ornament,even of color, would have gone a long waytowards tying bridge and exposition propertogether. It is a little naked, and only thewarm sun of San Diego will save· it frommonotony with the fine play of strong castshadows within its arches.The slow approach over the bridge, owing toits great length of one thousand feet, is helpfulin getting one's mind adjusted to the peculiarcharm of the .first great group of buildings onemeets. One enjoys also the plain buttressedwall, rising from the slopes of the hills. Theeffect is that of a fortIfied medireval town.However, the gateway to the inner parts is notguarded by huge iron doors and halberdiers, andone saunters along unchallenged into the Quadrangle.Here a few remarks should be madeabout the main gate, with its typical architecture.The crest .of San Die~o in the middle andthe spandrel figures give It more than usualinterest. The treatment of this main entranceis most interesting, with its passageway travers-[28 ]

EAST BALCONY IN THE REFECI'OIlY OF THE CALIFORNIA BUILDINGDq G yGoogle

THE BUILDINGSing the arch, and the charming note of thewindow. The administration building, like aguardhouse, is to the left, in front of the gate.Set in a mass of trees and shrubs, with ornateemphasis upon the doorway, it has the plaincharacter of the typical Spanish-Moorish residence.The windows, in contrast to the doorway,seem just as if cut out with a knife. Themain door IS enlivened by well-scaled ornamentation,full of variety of scrolls, arabesques, anddolphins. But one does not want to linger outside- the great dome and tower are too strongin one's mind, since in the ap{>roach one continuallyenjoyed a full view of It, and one feelsits near presence with overwhelming force.Passing through the main gate and under thebrown beams of the traversing corridor, onestands captivated by the great beauty of theCalifornia Building. When I saw it first I didnot care to know of its purpose. I was spellboundby the historical atmosphere it immediatelycreated, and by the feeling that here wassomething immensely successful in every way.I felt the excellence of the structure, which wasso well suggested from a distance by reason ofits wonderful outline, and which is well sustainedeven in the smallest structural detail. One feelsthat technical excellence could not very well becarried much further, and after a study of theremainder of the Exposition, one cannot helpfeeling that this great cathedral is the piece deresistance of the Exposition. I t is immenselygratifying to come to that conclusion, for tworeasons. First, it is the most conspicuous unitof the Exposition from any point of view, and[29 ]

THE BUILDINGSif the first impression counts for anything, theeffect of the California Building upon the visitorin his further wanderings will be helpful. Moreover,the Cathedral and the Tower, in fact theentire group of buildings forming what is calledthe California Quadrangle, are of permanentmaterial, built of concrete over steel frames. Itis thoroughly pleasing to feel that here is a mostsuccessful historical monument, destined byreason of its enduring worth and material toinspire generations to come. It seems like blasphemyto call it anything but a cathedral,because its character is purely ecclesiastical anddevoid of any suggestion of worldly use, even ifone knows th1it a very remarkable display ofarcha::ological specimens, dealing with the architectureof South and Central America, will giveway temporarily this year to the alluring charmsof an exhibition of French industrial and artisticaccomplishments. How a display of Poiretgowns and bottled perfumes wlll· adjust themselvesinside I do not know, and I care less - acathedral it is to me, full of romantic historicalnotes.The most conspicuous feature of the wholebuildin~, after one has absorbed the gay beautyof the tlled dome and the rhythmic charm ofthattapering tower, is the decorative emphasis of thedoorway. It is an amazing piece of architecturalmodelling, convincing one at once of theprofound knowledge of the creator of this monument,Bertram Grosvenor Goodhue. Mr. Goodhuehad a blessed day when he designed thatdoorway, and another good day it was when heselected the Piccirillis to model the ornamental[301

THE BUILDINGSand figural detail. The immediate impressionone has is of picturesqueness and impressivenessalike. While one has the feeling that there ismuch to study on dome as well as on tower, oneis spellbound by the luxurious richness of theornamentation of the frontispiece, which has, amost unusual quality of superb technical execution,so rarely found in this country. Theperiod ornamentation so often met with in reproductionin this country is generally unenjoyableon account of its poor quality of workmanship;it is apparently done with little understandingof the origin of the ornament motives or theirfunction. This is particularly so in the case ofthe purely decorative styles, like Rococo orBaroque, where looseness often becomes undisciplinedand coarse and devoid of all regard forthe underlying constructive forms. Itwassometimes that way in Europe during thedecadence of these styles, but here in Americait has been entirely too common whenever arevival of a historic style has been attempted.The decorc,ltive emp'hasis of the main entranceof the California Budding is a marvel of workmanshipand one rejoices over and over at theknowledge of the permanence of so fine andhistorical a document - one or-the very finestin the far west. It is without doubt the finestsingle piece of architectural modelling on theground. Full of characteristic detail, it becomesparticularly interesting by reason of the sentimentalinterest which attaches to the manyfigures and busts which have been introducedinto its rich mass of mouldings, ornament, and~crolls. There is Padre ]unipero Serra, occupy-[31 ]

THE BUILDINGSing the {>Iace of honor at the top; at each sidebelow him are two exelorers, Don SebastianViszcaino to the left and Juan Rodriguez Cabrilloto the riRht; with the busts of their patrons,Philip III and the Emperor Charles V of Spain,above. Below Cabrillo is the first Governor ofSouthern California, and below Viszcaino isGeorge Vancouver, the English navigator - thefirst non-Spanish explorer to visit San DiegoBay. In the lowest niches, occupying naturallythe humble position appropriate to their religiousprofession, are the statues of Padre Antonio dela Ascension, the Carmelite and historian whoaccompanied Vizcaino, and Padre Luis Jayme,the Franciscan and follower of Serra, the martyrof the mission, who suffered death at the handsof the Indians at the destruction of the San. Diego Mission. All of these figures are modelledwith fine regard for their relation to thesurrounding ornament, and their flowing capesand draperies echo the animated character ofthe ornament.The fine oaken door opening into the churchhas all the character of the richly ornate frontispiece.Over the doorway are the arms of theState of California and elsewhere are those ofSpain, Mexico and the United States. However,a group of candelabra directly in front, atthe head of the steps, has all the distressingawkwardness of most examples of the firstevidence of municipal art in small countrycommunities, the Main-street e1ectrolier. Ihope that they are not permanent, and easilyremoved. They are superfluous in the otherwisewell-lighted quadrangle, and entirely out of[ 32]

GLIMPSE OF THE MONTEZUMA GARDEN - THE TOWER OF THE INDIANARTS BUILDING IN THE DISTANCEDIJltILF~byGoogle

THE BUILDINGSkeeping with either simple Mission or Spanish­Mexican style. They are modem American,and that is all one can say about them.There is much charm in the great expanse ofthe 'huge octagonal dome and its pyramidallantern, as well as in three minor domes at theother comers of the building. The gr!lcefullantern is worthy to be the work of ManuelTolsa, who designed and executed many a beautifulpiece of art work in Mexico. The glazedcolored tiles of the dome sparkle in the sunlightand give a note of the joyousness of southernclimes to the otherwise austere building. Theycover the outer surface of the dome solidly,forming the simple geometric patterns one findsin many similar domes throughout Mexico.Speaking of the patterns, the Great Star in thecenter on all eight sides seems a little violent.Around the drum of the dome we have ahighly appropriate Latin. inscription. Translated,it runs like this: A LAND OF WHEATAND BARLEY, AND VINES AND FIG-TREES ANDPOMEGRANATES, A LAND OF OIL, OLIVES, ANDHONEY. Is THAT NOT CALIFORNIA? And typicalCalifornia it is if one ascends the great tower toenjoy the view of the land below. The graceful,tapering tower or campanile, reaching two hundredfeet up into the blue sky, resembles anynumber of Spanish Renaissance belfries, such asthat of Cordova or the celebrated Giralda atSeville or the tower at Chihuahua in Mexico, forinstance. Like any great work of art it is botheffective from a distance and full of interestingdetail at close range. It can be seen for milesaround San Diego, and it is the dominant note[33 ]

THE BUILDINGSof the Exposition. It is highly interesting tobring the tower into visual relation with themany other buildings of related style on a walkthrough the Exposition grounds. The tower isalways a source of pleasure, either from withoutor as a vantage-point to get a view of a remarkabletopographical spectacle which presents itselfto the eye from the four balconies of its uppermoststo?es. It is one of the lasting impressionsone carnes away.Towards the 'South one is, in order to getone's bearings, unconsciously attracted towardsthe city of San Diego, feeling its way cautiouslyalong the vast expanse of the San Diego Bay.It has the typical expression of a spontaneouslygrown city, with the characteristic emphasis putupon the center by a number of tall buildings~surrounded by the tapering array of minordwellings, ultimately losing themselves in openspaces. There is a peculiarly different noteabout San Diego, with Its freedom from excessiveindustrial activity. It is as if the city had beenchosen with regard for the most manifold topographicalvariation to be found, all within aclose range. The bay, a well-protected laguna,offers such a well-sheltered haven of refuge thatone has difficulty in discovering its union withthe blue waters of the Pacific, directly underthe protecting bluffs of Point Lorna, towards thesouthwest. Point Loma reaches out like a strongarm into the open sea to shield the city from thenagging ofthe prevailing summer winds. OppositeSan Diego on the small, protective tongue ofland which, together with the mainland formsthe harbor, the quaint architectural features of[34 ]

WEST BALCONY IN THE REFECfORY OF THE CALIFORNIA BUILDINGDigitized byGoogle

ijII•I(ITHE BUILDINGSCoronado loom up, emphasizing the center ofanother small community. One recalls thepleasant warmth of its gentle waves, lapping atthe apparently interminable sand link, so poeticallycalled the Silver Thread. It is a mostbeautiful thread, a gen!ly curving line ofwonderfulrhythmic grace. No violent action of theocean formed that line. It has all the qualityof slow and careful growth such as could havebeen possible only under a clime free from thestronger contrast of nature's activities. Theplacid waters of the Pacific are not allowed tocontinue uninterruptedly towards the horizon.Away out in Mexican waters that boldly shapedrow of islands, the Coronado group, furnishes apicture of great fascination.' Corpus ChristiIsland, towards the right, makes a particularappeal, resting by itself in the suggestive outlinesof the outstretched form of the Saviour.One's gaze continues westward, passing overNorth Island in the foreground, agam over PointLoma, often bathed in a cool haze sliding infrom the ocean. The tiny form of the oldSpanish lighthouse is barely perceptible underthe shifting cover of the sea mists. Further ontowards the west and up the coast, glimpses ofthe ocean are afforded, until turning completelytowards the west one has the beginning of thatgradual change from the more rugged coasttowards the fertile lands which embrace SanDiego on three sides.From the north balcony of the tower, thetypical, often much abused California pictureactually presents itself in all the charm of itsmany contrasting elements. In the foreground[3S]

THE BUILDINGSplateaus and undulating lowlands, in their richculture of orange and lemon grove, extendtoward blue mlls and the snow-capped mountainsbeyond. The contrast ofsemi-tropical floradirectly at our feet, the horticultural wealth ofthe immediate surroundings, together with theflourishing fieldsof the citrus grower against thisrange of mountains, is charming and romantic inmany ways. Out here in California we havecomposed this picture so often on paper for thebenefit of the easterner, even when it necessitateda wild leap of the imagination to accomplishthe imagery. But here from the loftyheight of San Diego's great cathedral tower ona clear January day, it is a reality and a sightnot to be forgotten. There is a peculiar irregularityin the contour of these mountains. Theyhave not the uniform round shape ofthe northernmountains and hills, and they look as iftheyweregett!nE ready to lose their identity, approachingthe Mexican border on the east. Looking east,the lands lessen into terrace forms, ultimatelyshowin~ a typical Mexican mesa, as flat as atable. There IS no suggestion in this monotonouspicture to remind one of the turbulency of oursouthern neighbors, unless it is the faint suggestionof that hybrid town of Tia Juana, whereAunt Jane in her old days is leading a dissolutelife under the protection, or rather the blindtolerance, of a lax and generous government.There is much variety in this panoramic picture,and casting quick glances to all sides one hasthe feeling that here is a ·corner of the earthwhere every topographical unit known to thephysical geographer exists, with the exception[36 ]

PATIO WITHIN THE SCIENCE AND EDUCATION BUILDINGDigitized byGoogle

THE BUILDINGSof inland lakes. Open seas, rockbound coast,sandy beaches, sheltered lagunas, marshy lands,make a picture of great variety towards the sea;while inland the country within a comparativelyshort space rises from tilled and fertile lowlandsand oak-grown pastures into higher mountains,with their snow covering in winter time. It is apicture which contributes much toward theuniqueness of the San Diego Exposition.One leaves that tower with great regret, onlyto become enchanted immediately on arrivingbelow, by the romance of the inviting coolarcades which enclose the open court, the Plazade California. Opposite the gorgeous fa9ade,under the restful shadows of the roughly shapedceiling, the true ~irit of the California Missionis in evidence. In fact the three sides of thesquare court adjoining the cathedral have moredecidedly the character of the simple buildingsof the Padres than of the accom{>lished andskilled creation of the Spanish-Mexican churcharchitect. Sitting down to rest on one of thebenches under the arcade, one is struck by the~enuinenessof historical architectural expressionm the typical construction of the roof. Builtof roughly hewn cedar logs, covered only withwidely spaced sheathing, the red tile coveringof the outside is allowed to get into play for theeffect on the inside as well. It is a very simpleand imaginative method of construction, rusticand primitive, but constructively sound andreassuring as to the general permanent characterof this group of buildings. Besides, this treatmentof the ceiling is most decorative, and inaccord with the floor, covered with large durable[37 ]

THE BUILDINGSsquare burned clay tiles, showing wide mortarbonds to overcome the uneven and interestingirregularity of their form. It is a very intimatepicture and so full of historical connection thatthe appearance of a padre in his brown Franciscanrobe would hardly cause surprise. Theformal note of many clipped cypresses inside thecourt in front of the piers of the arcade adds tothe picture that evidence of human care thatone always welcomes in any architectural picture.But many doors east and west cause one'scuriosity to press on farther inside. The oneon the east Side in the 'south corridor is closed;the somewhat mystic darkness of the door onthe west affords a picture of an interior. Atfirst the low light of the entrance reveals little,but gradually a great staircase, a magnificenthandwrought Renaissance lantern, and away upa very finely coffered ceilin~ become discernible.The lantern hanging down In this vestibule maybe old or it may be a modem replica, but in itsrelation to the architecture of its immediatesurroundings, it makes a superb effect. Itnaturally leads one up to the ceiling, which isequally successful in preserving a note of historicalage, although of recent construction.This ceiling will too often be overlooked, but itis deserving of more than just a passing glance.A small open door on this lower floor, leadingout on a closed balcony toward the south, revealsthe intimate atmosphere of the interior of asmall chapel. .On descending to the floor below and enteringthrough a finely grilled door, one is inside asmall chapel, with all the typical characteristics[38 ]

THE AtTAR IN THE SERRA CHAPEL

THE BUILDINGSof a true Mission interior. It is dedicatedespecially to the memory of Father Serra, whosename it bears. One is affected again by thetruly religious sentiment which pervades thislittle chapel, so that one forgets all about theclose proximity of everyday things such as thesometimes noisy joys of exposition visitors. Itcasts a spell which revives the memories of thedays gone by - the days when San D!ego wasthe extreme northern outpost ofSpanish-Mexicancivilization and not yet thought of as the mostremote southwestern corner of a great moderncivilization. There are few things in this cha~el,but they all seem genuine and impressive. The~reat altar on the southwest, facing the entrance,is the most important feature of the dimlylighted hall. Here naturally religious sentimentand ceremony are focussed. It was in suchspots that the fathers sometimes created out ofthe small store of their architectural knowledgethese highly decorated altars of which this is atypical example. Done in endurin~ material, itis probably the only one of its type m California.Like the great frontispiece of the CaliforniaCathedral Building, the altar is full of sculpturedfigures of religious historical interest. The mostprominent figure in the middle is that of OurLady and Child, occupying the place of honorand importance.· At the left stands, almost lifesize,the sombre figure of St. Francis Xavier,patron of the Jesuits, introduced to commemoratethe Missions in Arizona and their founders,and at the right is the statue of an unknownsecular priest and sai~t, to coml!lemor~te t~ework of the church m general m Cahforma.[ 391

, THE BUILDINGSThe two heads above are of Santa Isabel(St. Elizabeth) of Hungary, identified by thecrown, and on the other side, Santa Clara ofAssisi, founder of the second Order of Franciscansand friend of San Francisco. The twobishop's heads below are those of San Buenaventura,Bishop of Abano, and San Luis, Bishopof Tolosa (St. Louis of Toulouse), both Franciscansand patrons of California Missions. Atthe ri~ht of the altar hangs a bas relief of SanFrancIsco, .showing the stigmata, giving anadditional note of historical religious interestwhich is further carried on on the west wall byan ancient wooden statue, of Spanish origin, ofSan Antonio of Padua.This does not complete, however, the simplefurnishings of this intimate chapel. There are'hung about old musty paintings, in flyspeckedframes, of religious subjects, an antique "EcceHomo" unearthed in Old Mexico being one ofthe most typical. The old pulpit to the leftindicates practical use, and so does a very fineironwrought Bible stand, in front of the altar.The Bible reposing on it is old, very old, but onexamination discloses itself as a German and nota Spanish book.On our way out, facing the wall opposite thealtar, the little gallery approached from anopening in the middle story becomes of interestagain, not only for its quaint wooden constructionbut also for the inscription on its supportingmain beam. It runs: Scte Francisce. PaterSeraphice. Missionum Alttz Californiee Patrone.Ora pro nobis; or, SAINT FRANCIS, SERAPHICFATHER, FATHER OF THE MISSIONS OF UPPER[40 ]

THE COMMERCE AND INDUSTRIES BUILDING - THE LAGUNA INTHE FOREGROUNDDigitized byGoogle

THE BUILDINGSCALIFORNIA, PRAY FOR US. So it reads, andwith this sentiment we enter the hall again andascend the stairway to invade a long hall, somewhatlike a refectory, given over to a displayof a large collection of modem paintings.The first feeling one has in entering this wellproportionedand well-lighted hall is of beingrudely awakened from a pleasant dream. Howdid these pictures get into this atmosphere ofhistoric sentiment? One is at first resentful atthe daring intrusion of these ultra-modems, soout of sympathy with their surroundings. Theirdisrespectful attitude towards the past has noconnection whatever with the periOd characterof the Exposition or the California Quadranglein particular. Without investigatin~ the raisond'atre of this amazing collection of pIctures, onemust in all fairness admit their individual worthand interest, despite their antidotal effect inbrin~ing one back to the modem world after aconsIstently maintained historical journey. Asmodem pIctures pure and simple, they areendowed with all that quality of expressiveactuality so dominant a note in present day art.There is Childe Hassam, with a capital decorative"Moonrise at Sunset." Very delicate incolor and subtle in technical executIOn, it is oneof the finest examples of Hassam's art we havehad out here in the west for some time. RobertHenri has a lovely little girl portrait, and someof his recent western studies of Indians. GuyPane Du Bois, Carl Springhorn, and WilliamGlackens all maintain modem tendencies intheir work with individual freedom and sometimesgreat daring. Space does not permit any[41 )

-THE BUILDINGSmore than merely to ~ive the names ofthe othersparticipating in this very remarkable littleexhibition. There is George: Luks, with some"Cuban Dancers;" Joseceh Henry Sharp with avery literary subject, 'The Stoic," and otherIndian themes; Maurice Prendergast's verycolorful "J;.,andscape with Figures" and a verydecorative frieze of "Playing Children;" ErnestLawson with some candidly observed landscapes,and last but not least those two related spirits,John Sloan and George Bellows. Bellows' twogreat New York canvases are full of the vigor ofhis brush, intimately observed and simply andbroadly rendered. Some day when age hasspread the harmonizing tone of amber over thesecool Bellows, they will rank as the great paintingsof early twentieth century American art.Mter even a casual investigation one feels quiteconsoled over the sudden departure from historicsentiment to modem matter of fact painting andthe subsequent necessity of taking up again thethread of older traditions.It is in a way refreshing and stimulating to bemomentarily interrupted thus, and moreover avisit to this gallery prepares one for the decidedlymodem note which prevails in the upstairsquarters over the entire west side of the building.After some introspective moments in theSerra chapel and much historic retrospect, I waskeyed up, having heard of the art gallery, to seea vast number of dignified pictures in hand;.carved, gilded, or black frames, such as the fewin the chapel. My heart longed for endless darkand unintelligible tabasco-sauce-colored paintingsof Church' dignitaries, Conquerors, and[42 ]

THE FOOD PRODUCTS BUILDINGDq G yGoogle

THE BUILDINGSSaints, but I see now I was doomed to disappointment,owing to the insurmountable handicapof many years of conventional Europeaninfluences based on a holy respect for the_ past.Besides, the modern note of the Women's Headquartersupstairs might have been too immediatein its very pronounced gaiety of color. Thesemany connected rooms with their great numberof wmdows have a most distinctive note, whichin a large measure is due to a very daring butmost successful color scheme of black and persimmoncolor. The effect, enhanced and enrichedhere and there in many added motiveslike ripe pumpkin or French marigold, is strikingbut not devoid of poise. These rooms, withtheir atmosphere of a most generous, sincereCalifornia hospitality, leave pleasant memorieseven in the mind of the casual· tourist who in" doing" the Exposition hastily passed throughin his search for other impresslOns. In the lateafternoon the open balcony towards the westaffords the pleasures ofthe spectacular Californiasunsets whIch are enacted over the bold formsof Point Loma. One would almost think thatso great a variety of treatment of the interiorwould disrupt that feeling of unity, of oneness,that is so immensely helpful in preserving thedesirable repose of an exposition building. Buton reflection one welcomes that note of new lifein the art gallery and upstairs as refreshing,stimulatin~, and invigorating. One leaves thebuilding wIth a feeling of zest for further explorations,and on arriving again outside, out of thecool shadows of the arcades into the warmth ofa California sun, the apparently endless straight,[ 43 ]

THE BUILDINGSline of the Prado, the central avenue, has noterrors.We have so far penetrated only into the shelteringquiet of the Plaza de California, the firstbut smallest square in the Exposition' picture.On the east, continuing the axis laid down bythe great bridge, the main avenue gently risesas the Prado between two stately buildings,Science and Education, and Indian Arts, towardsthe center of all Exposition activities, the greatPlaza de Panama. Here everybody pausesagain and sits down to rest, to adjust the mindto the new note of the traversing secondary axisrunning to the north from the California Building,straight against the sea, to be arrested bythe outstretched arms of the Organ colonnade.That must suffice for the moment, since thePrado offers much more for investi~ation.I always have the desire- in studymg an expositiont~ acquaint myself with the larger constructivefeatures before sitting down to the lessstrenuous pleasures of irivestigating the smallerand minor units. The San Diego Exposition, inspite of its orderly arrangement, has neverthelessthat irregular character so typical of all Latincities, inciting one's curiosity to the breakingpoint, and tempting one on. Leaving the Plazade Panama and proceeding eastward on thePrado. one passes two buildings, one on eachside, the Home Economy on the left and theForeign Arts on the right, and one expects to seethis scheme repeated farther on with anothergroup, but discovers once more the introductionof another charming unit, based on a minortraversing axis and leading up towards the north[ 44)

----~.- ---lITHE oUCADE OF THE SCIENCE AND EDUCAnON BUILDING8)tLvGoogl

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THE BUILDINGSinto the Botanical Building. Here no pavedopen plaza has been attempted, but a peacefulpoetic note of a placid laguna and its minormore intimate neighbor, the so-called lagunita,furnish the keynote. The entire neighborhoodhas been called the Botanical Garden. . For themoment we shall leave it, to return to it later.After this glimpse into the side court, the Pradocontinues between another group, the VariedIndustries on the left and the Commerce andIndustries on the right. Arriving at the pointbeyond these buildings, one's attraction is decidedlycarried towards the left, where the symmetricalarrangement of the Southern CaliforniaCounties Building occupies a prominent placeall by itself, standing away from the Prado byseveral hundred feet. Between this buildingand another, the Agricultural Building, closelyadjoining the Varied Industries, runs the CalleCristobal, which loses itself gradually amongagricultural outdoor displays.In this part of the Exposition we have also theSan Diego successor of the old-time Midway orPike - the Isthmus, the apparently inevitablefeature of expositions. It is in this one featurethat modem expositions have not as yet daredto emartcipate themselves. It is here again thesame old thing, the same tawdry tinsel, the sameold peanut and popcorn pandemonium on Sundays.Occasionally one runs across somethingthat makes a lasting impression, like the highlysuccessful "Painted Desert." Set up in themost remote northerly end of the Exposition, itdeserves much attention for its really artisticfeatures. I imagine that to the European who[45 ]

THE BUILDINGSmight be studying on a map of America therelatively short span between the Arizona habitatof the Indians of the Southwest and the city ofSan Diego, the thought of a reproduction atconsiderable cost of this most picturesque Indiandwelling might hardly occur. He might think iteasier, having arrived at San Diego, to finish therelatively short distance to the real thing, hereso wonderfully well reproduced. The skies ofArizona differ little from those here, and eventoward the east the tablelands of the skylinefurnish almost the identical physical conditionsnecessary for a faithful reproduction of thisethnological exhibit. With rude rocks broughtin from Arizona and New Mexico, with desertcedar and cactus and pinon wood, with the helpof the white man and the intimate knowledge ofthe red man himself, the true life of the Indianof the American Southwest has been represented.It is by no means an ordinary village. Skilfullyand with fine regard for effect of genuineness,the habitations of the cliff dwellers and the"Logans" of the Navajos and the other nomadictribes are here set up. Even the toweringpueblos of the Zuni and Hopi are in evidence.One gets a very real and lasting impression ofa unique and old civilization of Indian life withwhich very few people are familiar. In the coolcrevices of the rocks the Navajo women are atwork weaving in crude colors their decorativerugs and blankets, while the children are cardingand sorting the colored wool. On the roof ofthe adobe dwellings the pueblo Indians areshaping their pottery and hammering out theirsilver and copper ornaments. In the sacred[46 ]

THE FOOD PR.ODUCTS BUILDING FROM THE BOTANICAL GAR.DEN­THE LAGUNITA IN THE FOJlEGIlOUNDoyGoogle

THE BUILDINGSkeva sometimes the braves may be heard stampingfuriously in their dances, such as theirancestors danced long before the coming of thewhite man. It is an atmosphere itself and freefrom any of the circus features which so oftenspoil the transplanted life of foreign usages andcustoms. After wandering down the apparentlyendless Isthmus, the "Painted Desert"comes as a great surprise, offering a genuinepleasure.But so far it has only been a cursory examination,with a closer investigation of the twoextreme points of interest, the California Quadrangleand the Indian Village - one representingthe highest artistic expressions of the whiteman's civilization and the other the much older_ and still existing art of the real American. Itwill be necessary to begin again at the pointwhere the Prado springs from the Plaza deCalifornia. Under the sombre shadows of thearcades which line the Prado on either side, weare tempted to forget our plan of investigatingthe outside of the buildings more closely, toyield to the enchanting pictures of the shelteredstairways leading into another realm of theExposition - the Gardens. But that is reservedfor another chapter.The Science and Education Building suggeststhree styles-Mission, Spanish Renaissance, andMoorish-represented by the round plain archesof the arcade, the decorative windows of theupper story, and the glistening color note ofthe tiled turret, respectively.It will be observed immediately on leavingthe California Quadrangle that a somewhat[47 ]

THE BUILDINGSdifferent spirit prevails now in the architecture.One's attention is first drawn to the differencesin texture and color of the buildings outside theCalifornia Quadrangle. The cement finish inthe permanent group has a darker tone, while acertain smooth and light plaster of Paris qualityseems to be the controlling note of the tem~orarybuildings. But it is not this alone. Thearchitecture, while it has the same constructivedignity as the California Cathedral, has not therefined reserve that one so greatly admires inthat building. This is particularly true of theornamental detail. It will readily be seen thata decorative style of architectural ornamentation,such as the Baroque, can very easily becomeover-elaborate and loose, forgetting its truefunction of supporting the constructive formsof the buildings. While Mr. Goodhue was theguiding mind of the whole ensemble, it becomesvery evident that other workers interpreted hisideas, not always in the spirit of the reservedstyle of the master. There is a ~reat deal ofvariance in feeling and in scale In the manr.buildings. They are not all equally successfu .The Science and Education Building shows goodrestraint and much thought. The window openings,with their gay touch of the marble column,are almost Romanesque. It is a building thatis conspicuous for a certain respectful attitudetoward its most dignified neighbor, the greatCathedral, which it adjoins. The same must becredited to the Indian Arts Building, opposite,on the north side of the Prado. Much smallerin ground area by reason of the great space ithad to yield to the Montezuma garden, its[48 ]

THE ORGAN ON THE PLAZA DE LOS ESTADOSDigitized byGoogle

, T H ED U I L DIN G Sfa~aaeis really found on ,the Plaza de Panama.This is the most Mission-like creation of all theExposition buildings - distinctly simple andalmost primitive in style. Quite in keepingwith this purpose and following the buildingtraditions of the American Indians, the walls ofthis building are very plain, completely devoidof decoration except on the north doorway.The 0f.en belfries in this Mission building aretYEica , however, in their primitiveness.Reaching the Plaza de Panama once more,the symmetrical form of the Sacramento ValleyBuilding rises impressively. Most happilyplaced, it is fully deserving of its prommentsituation. Among the many unsymmetricaland sometimes poorly balanced buildin~s, itcomes as a great relief. Its massive digmty ofalmost strictly Renaissance plan calls for respect.Mr. Allen may well be proud of this buildingand of all the attentions which are bestowedupon it owing to its prominent location. Itconveys the impression of a city palace or evena town hall. Here one has the feeling of havingarrived at the center of social outdoor activities.In its general features it resembles the Palacioat Oaxaca in Mexico, a consideration which reallyadds as little to its organic effect in its presentsurroundings as it detracts from the reallynew note furnished by the sloJ?ed tile roof andthe elaborately carved cormce. The sevengraceful arches which constitute the principalfeature of its fa~ade are supported by pillarswith half columns in front twined with sculpturedgrape vines, a design that is much mevidence at this Exposition.[49 ]

THE BUILDINGSThe daring color effect of the building is producednot only by the contrast of the red roofagainst an imperturbable blue sky, but also bythe blue curtains on the windows, brought forwardand hanging over the iron railings. Thelarge blue and yellow striped awning raised infront of the building, to shelter either band ordancers, furnishes the key to the whole colorscheme of the Exposition. The color scheme isworthy of study, since it demonstrates in a verystriking way what may really be accomplishedwith just a few daring notes of primary colorsagainst the bright surface of buildings. Wehave heard so much about exposition colorschemes of very elaborate scope that an effectiveuse of just a few strong primary colors becomesreally Interesting in its simple contrastin~ features.There is no color at all on the bUIldingsanywhere. They are all painted white, with atinge of cream wherever they are temporary,and the great California Building has the soft,warm color of mature cement. And still colorseems to run through everywhere, without occurringin freat quantities. It is not a colorscheme 0 mellow middle tones spread over largesurfaces, but the piquant dash of bright blueand yellow or a daring moss green or again anorange which joyfully greets you from the manywindow opemngs of the buildings. Togetherwith the similarly candid notes of the tile on thegreat domes and minor turrets of other buildingswhich are completely covered with them, thisis all the color furnished by the hand of man.However, nature in its abundance has addedother color schemes which we shall meet with[50 ]

DECORATIVE FLOWER UllNS ON THE PRADO8 )tL vGoogle

THE BUILDINGSlater. Sloping toward the sea, the paved surfaceof the Plaza de Panama continues into thegreensward of the Esplanade, separated from itby a balustrade in order to preserve the fullmeaning of the great central space. On eitherside, west and east, are two pretentious buildingsof similar Spa~ish RenaIssance type. Onthe west is the smaller, the Kern and TulareCounties Building, while on the east side standsthe much larger San Joaquin Valley Building.The former is simple and unpretentious, thoughmost attractive, while the latter has all theornateness of the ever-present Churrigueresquestyle.We have by this time arrived at the organthatmost impressive feature of the Exposition.Architecturally it is not very convincing. It ishard to understand the pygmy scale of thecolonnades as contrasted with the great bulk ofthe central part, housing the mechanism of theorgan. Of all the architecture of the Expositionit is to my mind the most uninteresting, mostuntemperamental creation. Compared with themany architectural pyrotechnics elsewhere onthe grounds, it does not enter into the concertof over-joyous Baroque melodies. I t sings allby itself in pseudo-classic strain without havingany classic expression. However, the organmust be enjoyed for what it produces musicallyand for what you may see from its spaciouscolonnades. Absolutely unprotected, it standson a rising hillside without fear of inclemency ofthe weather. From having sat there often, onone of the many comfortable benches on thePlaza de los Estados, at different times of the[51 ]

THE BUILDINGSyear, I have come to the conclusion that thereIS no such thing, at least at San Diego. I donot know how often during the year the publichas been deprived by bad weather of the deli~htfulhour of Dr. Stewart's recital, but it certamlycannot have been very often. It is the most'enjoyable hour of the day - it is an importantfeature which contributes toward the originalnote ofthis Exposition. There have been organsat all expositions, in fact some much bigger ones,for instance at St. Louis, but none have playedfor an entire exposition at one time. Everywhereover the entire plateau may be heard themonumental music of the Handel Lar~o or thesweet harmonies of some folk melodies. Theorgan gives tone to the Exposition and nobodyis permitted not to enjoy it. It was daring toselect the most exposed p~sition for this musicaloutdoor phase of the Exposition, but it hasproved a great success. It will, after the Exposition,for many years to come be the source ofmuch enjoyment and education to all the peoplewho will be privile~ed to visit this blessed spot.There still remam to be visited the buildingseast of the Plaza de Panama, along the Prado.Architecturally they all more or less forget themselvesand indulge in a veritable carnival ofBaroque ornamentation, such as the wildestperiods of Europe seldom beheld. The influenceof the noble Cathedral is waning, themantle of restraint is thrown away, and riotousjoy prevails. This is of course all in the style,but it shows ,the difference between the workdone by a man whose hobby, so to speak, hasbeen so individual a style as Spanish Baroque[52 ]

---.-...04THE TOWERS OF THE FOOD PRODUCTS BUILDING ON THECALLE CRISTOBALCoogle

THE BUILDINGSas demonstrated in the California Building, andthe work here done by men who had to livethemselves quickly into a style which at bestnobody can comfletely master in its mostmannered way. t is the expression of themost decadent side of Baroque that jumps atus here from all corners. Overly heavy, dropsicalmouldings conveying the idea of enormousphysical weight, ornamental convulsions of allkinds, loud and spectacular in effect, are inevidence in more than one place. But we mustnot forget this is an Exposition and that this isnot the_part intended for posterity.The Home Economy Building and the ForeignArts Building on the east side of the Plaza dePanama extend also partly up the Prado. Thechief feature of each is a tower. The HomeEconomy Building is the more successful one ofthe two, rarticularly ~n the west side. I t has adelightfu Spanish' Moorish character, reminiscent,however faintly, of the Palace of Montereyat Salamanca. A wooden per~ola over thearcade connects this building wIth the SacramentoValley Building. The tower on the ForeignArts Building, distinguished by the crowningornamentation, in the shape of many smallpinnacles, contrasts with the plain finish of thetower opposite on the north. The windows onthe upper story of this building are particularlypleasmg in their decorative treatment. Thoseon the north side are protected by iron grilles,as is the custom in Spain. Continuing on theright of the Prado, the Foreign Arts Building isconnected by a very interesting colonnade ofsemicircular arches. It is covered with a tiled[53 ]

THE BUILDINGSroof adding that touch of Spanish atmosphereone always enjoys.The Commerce and Industries Building andthe Varied Industries opposite are the twolargest buildings in the grounds and they arein a measure the most typical examples of thedeclining beauties ,of a marvelous style. It isinthese two buildings, particularly in the VariedIndustries,· that one may speak of architecturalpyrotechnics, with all the flamboyant effects ofoverdone ornamentation. The Commerce andIndustries Building is not free from certainovernaturalistic tendencies, particularly in thelarge consoles,designed as kneeling women. Thismay be due to a lack of skilled artisans experiencedin the modelling of human forms, butwhatever may be the cause, these realistic ladiesdo spoil the pleasure of enjoying the otherwisewell-designed heavy cornice of the building.The color treatment in the cornice is uniqueamong the buildi!1gs, but most effective.Adjoining the Varied Industries on the northand stretching along the Calle Cristobal, theFood Products Buildin~ continues the schemeof things. It might easIly be mistaken for partof the Varied Industries Building which itadjoins, but official designation decrees it aspecial building, though there is no reason visiblefor this division on the outside. Architecturallyone will very quickly find it one of the reallyinteresting buildings on the grounds. It hastwo very distinct artistic features - the architecturalemphasis of the main entrance on theeast side and the highly successful treatment ofthe part which adjoins the Botanical gardens.[ 54]

- -- ---_. ~~~_~~-~~_~=~==~======-=ooTHE FOUNTAIN IN THE BOTANICAL GARDENCoogle

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THE BUILDINGSEach has its own distinctive beauty. The mainentrance, with its two towers, is typical of aSpanish monastery in the Churrigueresque style,and the large scaled ornamentation ar~>und thedoor is much better Baroque than one generallymeets with. Toward the west the apse andchoir of the chapel extend from the great massof the building, making one side of a mostcharming Spanish court. This part, to mymind, is one of the most successful details theExposition has produced. There is a gentlerestraint about it that can be the result only ofthoughtful study' and intimate understanding.One more bUilding, last but not least, invitesexternal inspection, and that is the SouthernCounties Building, once more disclosing in itsstyle the influence of the Spanish Churrigueresquein its best phases. It is almost symmetricalin plan and at once dignified andconspicuous for its general decorative effect inthe landscape. Its two tile-covered gay towersare its chief features, unless one considers thecourt over which these towers preside, with itsrestful atmosphere, worthy of that characterization.I prefer the Southern Counties Buildingto any single unit on the ground for itsfreedom from any affectation of style. It seemseminently successful, not least for its veryexcellent ground plan. The only emphases inthe building are the towers, which perform theirfunction well without any interference fromornament. Simple balconied window openingsare the only distinctive note outside, with theexception of the great door and staircase on thewest side, opposite the Food Products Building.[ 55}

THE BUILDINGSSO far it has been necessary, in order to get aproper general view of the architecture of theensemble, to remain out in the open, and themost intimate quality of the building colonnadeshas not come to be appreciated. But the daybecomes longer, the shadows grow short, andone welcomes the secluded and subdued atmosphereof the arcades. They are as necessaryhere as in the hotter climes of Mexico and thethought of being able to traverse the entireExposition under the cool roof of low-ceilingedarcades is reassuring to one's comfort. Interruptedonly by the Plaza de Panama - andeven there one could stay within the gracefularcades of the Sacramento Valley Buildin~ - .they offer their cooling spaciousness to the visitorfrom one end to the other. They tie the wholearchitecture together, and once underneath oneforgets the sometimes noisy ornamentation onthe fac;ade above. Their effect is one of greatbenefit to the unity of the Exposition picture.No matter what the type of building, whethersimple Mission or belhgerent Baroque, theselong, apparently endless avenues, extend alongall the buildings in rhythmic foreshortening intoendless distances. They make one content with. the generally more or less strenuous work ofExposition wanderings, and even if the exceptionalshould occur and the heavens send downtheir refreshing showers, they are again thehaven of refuge, without limiting one to a singlespot.After some time spent in the intimacy of thearcades, one mi~ht be tempted to do justice tothe many buildmgs representing the States of[ 56)

THE PIGEONS ON THE PLAZA DE PANAMADIJltILF~byGoogle

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THE BUILDINGSthe Union. Starting on the Plaza in front ofthe organ, to the right the Via de los Estadosleads to a number of buildings which in theirway have tried to fit into the scheme of things,with much success when one considers the factthat they were designed by different men, indifferent parts of the continent, outside of thecontrol of the Supervising Architect. The WashingtonState Building assumes a gaiety barelysuggestive of its Mission origin. An originalfeature of the building, successfully managed, isthe many window openings which penetrate theouter walls. A little further along on the leftthe Montana Building impresses by its verydignified fa9CIde. An air of the secludedness ofthe Mission, from which it too has the generaloutline, is evident in this building, which contrastsmarkedly with the loose note of its neighborfrom Washington. .A little to the right, opposite, a most unusualstructure arouses curioslty as regards its aqtecedents.It is simple in construction, almost toa point of naivete. New Mexico could not haveused a better, a more fitting _tyl?e of buildingthan this old Indian-made MisslOn. The oldFranciscan Mission Church after which it wasfashioned was built lon.g before the days of thepioneer houses of worshlp in California. It stillstands on an elevated position, the rock ofAcoma. Church and fort, castle and dwellingalike, it was built for defense as well as for purposesof civilization. It has here in reproductionthe same simplicity as our CaliforniaMissions, for reasons which were the same ineither country, lack ofexpert artisanship. Built[57 ]

THE BUILDINGSrelatively low, its two towers emphasize thechurch building as distinguished from the adjoiningbuildings, which are used for displays of anarch~ological and commercial character. Thechurch rroper has the true atmosphere of ahouse 0 worship, and together with the SerraChapel in the California Building, it contributeslargely toward an atmosphere of religious sentiment.The chapel, with its weighty beamceilings, the altar, and the typical benchestheyall speak of the primitive character of thelife of the pioneers of the Southwest, the Franciscanmonks. As one swin~s around the driveof the States, the Utah Buildmg, with its magnificentportal, commands attention. Built onthe plan of a cross, its spaciousness becomesevident even from the outside. In general characterit is very much like the Montana Building,but more QPen and less reminiscent of a Missionchurch. There are others, but this short surveymust suffice when one of the most importantfeatures of the Exposition is still waiting for ashare of praise that cannot be made too lar~e.The garden aspect, the flower wealth, the entireatmosphere of a newly created paradise, cannever be praised too highly. It is the makingof the Exposition, the cause of its intimatefeeling, its character of having been there indays gone by.[ 58]

THE GARDEN ASPECTSONLY three years ago the paradise in whichwe find the Exposition embedded wasnothing but a large tract of land devoid of anythingthat might be called vegetation. Forlonger than the memory of man this land hadbeen untouched by water save by those preciousfew pluvial blessings which find their way intothe southwest corner of the United States. Itwas no wonder that the soil became hard, andseared by the almost continual sun. In thecanons and on the mesa there grew nothing butthe obstinate cactus, the fragrant sage andchaparral. The sly coyote found it an idealhaven of refuge from hls depredations into theneighboring country. On one side of the mesa. was a scattered grove of pepper trees, battlingwith outstretched arms for a sad existence,deprived of any encouragement in the way ofwater.That was only three years ago, and today wehave the surpnsing sEectacle of the pinnaclesof a romantic city of Spain rising amidst luxuriantverdure. From immediately about thebuildings down to the depth of the canons, theland is covered with a thick growth of semitropicalfoliage, with lofty trees, and generouslyspreading shrubs and bushes. A magic gardenhas taken the place of the desert. It seems[ 59]

THE GARDEN ASPECTSalmost as if a wonder had been performed.Those who know the results of sun, soil, andwater if brought together into action in otherparts of California will marvel less, but to thenon-Californian with a receptive mind, thisAladdin performance must be most interestingand instructive as well. Leaving out of considerationthe older Balboa park, leading up to theExposition, a view from the viaduct over theside of the parapet down into the winding canonwill disclose a very convincing sight of thehorticultural wonders performed. Even on thebridge itself, the huge pots emphasizing the ends,with their monstrous century plants, arousecuriosity. With their flower stalks rising twentyfeet into the air, they contradict the popularstory of the centenary blossoming of thesemythical flowers. I am told these were raisedfrom young shoots in the nursery, and they arealready paying the penalty of maturity, in lessthan a decade. But the bottom of the canon,with its irregular shaped pond, has too strongan attraction to be outdone by the centuryplants. It is a wonderful pleasure to lean lazilyover the safe parapet and listen to the monotonousmelodies of the thousands of frogs leading ,a merry life in the pool. With its well-concealedborders, the pool has a wealth of aquatic vegetationwhich is rivalled only by the laguna andits sister, the lagunita in the Botanical Garden.Everywhere in the shallow waters the lotus issending up its large round leaves, standing, asif they wanted to shade the water from the sun,on graceful stems above the surface. The waterlily occupies other comers and bamboo reeds of[601

THE SOUl"HERN CALIFORNIA COUNTIES BUILDINGDq G yGoogle

THE GARDEN ASPECTSmany kinds spread all around the edge, offeringshelter and seclusion to the clannish blackbirdand the mournfully colored mudhen. Thenthere is the calla, that symbol of a warm clime,blooming almost all the year around. Pampasgrass grows in enormous clumps, sending out itsgreat feather dusters. While this most decorativeplant will do well with ordinary irrigation,standing on the banks of the pool, resting inwell-watered soil, it has grown in a remarkablyluxuriant fashion. The papyrus is another ofthe aquatic plants we observe here under conditionswhich must be not less favorable thanthose on the fertile banks of the Nile. Allaround on the sloping sides of the cafion aremany evidences of the results which man, workingin sympathetic response to a most beneficentnature, has achieved where once was a desert.Near the bridge stands a grove of Italian andMonterey cypresses, the graceful outlines of theformer accentuating the point where the bridgethrows its first graceful arch in its efforts toreach across the canon. All around are groupsof acacias of different kinds, varying throughmany shades of darker greens of older trees intothe li~hter tints of the younger foliage. Thenthere IS our adopted state tree, the eucalyptus,from the common blue gum to the finer redvariety and the fig-leafed one with its blaze ofbrilliant red blossoms. The eucalyptus hasbecome as ordinary as the sparrow, but of thefiner varieties, like the ficifolia, one can neversee too many. Then come the palms, some verytall ones of the Cocos variety, the thick-bodiedsymmetrical Canary Island date-palm, and[61 ]

THE GARDEN ASPECTSscores of others. Among all these there has beenscattered a great variety of other trees, furnishingby succe,ssive bloommg a very desirable noteof color. Near the Main Gate are magnificentFuchsias, the gay Canna, and the bright orangeof the Lantana gleaming through everywhere.But we have already lingered too long on thebridge, since the intimate beauty of many charminggarden effects is waiting for us inside. Alongthe Prado, continuing the scheme from the outsideof the Exposition buildin~s, rows of formallyclipped Blackwood AcaCias, standing inthe thick green lawn, line the main avenue. Infront of the colonnade a hedge of Coprosma, withits waxy green leaves, continues the effecttoward the building. It covers densely the ironrailing between the posts of the arcade and it isrefreshing to the eye from within as well as fromwithout. From behind its shadowy foliage allsorts of vines rise to climb gracefully and luxuriantlyover the arches of the arcade into theroofs and from these over the adjoining building,away up where the eaves and domes begin andwhere the mission bells swing in their belfries.It is difficult to describe the colorful beauty ofthese vines, particularly of the Bignonia, of avivid terra cotta yellow, contrasted with thecrimson vermilion of a rare Bougainvillta. Theyall sweep over the walls in great streams ofcolor which do not seem to be afraid to reachto the highest points. The fascination of thesespectacular flowers is so great that one almostoverlooks the many more intimate ~arden featureswhich the careful visitor Will discovereverywhere.[62 ]

IN THE PATIO Ol" THE SCIENCE AND EDUCATION BUILDING

THE GARDEN ASPECTSAdjoining the California Building on thesouth side of the Prado a shaded stairway leadsunder an arch into the Montezuma Garden.Los Jardines de Montezuma is the pompous titleof this retreat. There is, however, nothingpompous about this sheltered spot. It is mostsuccessful as a fine flower garden, embracing allthe plants one finds in many climes in the wellkeptgarden. It is a typical Spanish formalgarden, sheltered on all sides, a veritable retreat.On three sides buildings, including the PradoColonnade, furnish the enclosing sheltering walls,while on the south a pergola almost invisible inthe surrounding shrubbery divides it from thegently sloping park. As if the solid frames ofthe buildings were not enough, rows of Eucalypti,of Piuosporum, and Blackwood Acaciahave been set all around, outdoing each otherin setting a new record of annual growth. ThePiuosporum, with their heavy orange-coloredclusters of berries, are nowhere finer. Theformal plan of the garden has been emphasizedby a border of dwarf r"onica, enclosing manyflower-beds of various shapes. The bulk of thebedding has been done by liberal use of ourcommonest garden friends, the red Geraniumand the white Mar~uerite, which have respondedhere with their typical prolificness. Columbinesin many colors have been added and also theLion's Tail, the apple-scented Salrna, and manymore. It is a ventable riot of color, and yetfull of harmony, with its mediating notes ofmany greens. A classic pergola on the west, theonly typical Greek bit of architecture in thegrounds, invites one to sit down on its rustic[63 ]

THE GA·RDEN ASPECTSbenches to drink in the enchanting picture offloral life. Of the many secluded spots, this isthe most fascinating retreat, offering alikewarmth, shelter, and stimulus for further work.The pergola on the south, crowned with woodenbeams, opens up another picture of great restfulnessin the simple tree-bordered space of awell-kept lawn. It was here that a Shakespeareanplay found its delightful outdoor setting,under a southern sky.After having discovered the Montezuma Garden,one becomes curious as to other obscuredgarden units - and many there are, giving endlesspleasures. North of the great Cathedralwill be found a fine open park, ready to receivethe weary wanderer. In fact nowhere has theimpression been allowed to develop that you arebehind a buildin~ in the sense of being in' abackyard. Walkmg around and behind thebuilding is one of the great pleasures at thisExposition. The intimate side of the Expositionreveals itself here. The loving care of thegardener who leads the eye from the buildingsgently over trees, shrubs, into the ground ismanifest at every tum. It is here that we feelthe difference between the new and the old typeof exposition. Here you can see behind thescreen, so to speak, without fear of sham andplaster of Paris deceit. Order and care has beenmaintained with all that regard for the finer andlasting effects that attention to detail will create.But the call of the Prado is still as strong asever. .There are still two intimate secluded·gardens which each deserve the fullest attentionfor their individual charm. They are both of[64]· .

THE GARDEN ASPECTSthe patio type, and situated within the Scienceand Education Building. The larger one of thetwo, enclosed on three sides by the buildingwalls of severe' plainness, with only the singledecorative emphasis of an ornate doorway, istypical of the Spanish or Spanish-Americaninner courts. It has all the privacy and charmof seclusion which is appealing in a countrywhere privacy in gardens is hardly known.Here at San Diego, where the success of thisunique loitering-spot of subtropical climes hasbeen so well demonstrated, one is made towonder why so very seldom one meets with itsadaptations in our California dwellings. We. adhere religiously to the old-fashioned conservatoryrather than take advantage of the outdoorpossibilities of a small open court. Theluxuriant plant growth here possible under idealconditions has produced a paradise in thesesecluded spots which is not rivalled in the mostfavored spaces anywhere in the Exposition. Incontrast to the English-garden effect of theMontezuma garden across the Prado, its vegetationis truly tropical. Right at the entrance,at either side of a few steps leading up from thearcade, are standing guard, with outstretchedarms, two belligerent looking Dragon trees, ofthe Dract1!na family. A refreshing area of grassleads up all around against the solid wall ofBananas, Bamboo, Ferns, Papyrus, grouped ina most effective way, giving each one its 0pJ?ortunityto show off its folia~eof unimpaIredgrowth. Creeping and pushmg through fromeverywhere, vines of all sorts ramble and clamberover the bushes and trees, in their effort to reach[6S 1

THE GARDEN ASPECTSsunlight above. Here we meet again the solidyellow note of the Bignonia fJlnusta, furnishingthe play ofthe Spanish colors with their neighborbelow, the intensely red poinsettia. Color everywhere,the sky above, the glistening tiles of thetower at the southeast comer - everythingcontributes to the vigorous contrasts of this yetplacid retreat. At the edge of the shrubberythe blue Mrican daisy and the Begonias, withmany harmonious reds, lead a happy life underideal conditions. After getting accustomed tothe half-dark, one discovers Pan grinning fromthe seclusion of the shrubbery. He presidesover two small fountains, spouting water merrilyfrom a 'pedestal into a little stone basin.The elusive element, introduced merely in asuggestive way, completes the happy picture ofcomfort and seclusion.A little further up, at the comer of the Scienceand Education Building, a yet smaller patio hasbeen introduced. Every arch of the adjoiningarcade discloses a different picture of it. Inmany respects 'it is very much like the largerpatio, but on close inspection reveals many individualcharming notes. The central featureagain is a small Pan fountain, peeking out of theshelteriIJg shades furnished by the large leavesof the Elephant's Ear (calladium), a native ofHawaii. Great strains of the Solanum jasminoidesadd their silvery note to the grey blue ofthe eucalypti, competmg with the ever-presentglory of the gorgeous Bignonias and BougainoiIleas.Away up on the plain east wall of thebuilding forming the patIO a typical Spanishbalcony, half hidden amidst the feathery young[66 ]

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THE GARDEN ASPECTSgrowth of the Eucalyptus, arouses romanticthoughts. A carelessly flung rug hangs lazilyover the railing, and one stops for awhile to seea Spanish Senorita step out from within to completethe picture. But one wanders on underthe arcade to meet Pan once more, at the headof a formal little avenue bordered by the glossyfoliage of the Eugenia myrtifolia.,One is much tempted to lose oneself in themaze of curved paths running everywherearound the outside of the buildings. Butinstead one yields to the alluring strains ofSpanish music which come from within the shel-.tered porch of the Sacramento Valley Building.We have arrived once more at the Plaza dePanama - the great p,layground and restingplace alike. I think nobody ever passes thePlaza de Panama without resting awhile, inthe sun or under the shadows of the buildings,to absorb the picture of Spanish-Italian atmospherewhich always prevails here. The Spanish­Mexican dancers, to the accompaniment ofsingers and mandolin players, furnish a veryfine typical note that nobody can help st0l!pingto enJoy, if only for a short space of time. Theircolorful costumes, the short black bolero jacketsand white waists, together with the bright yellowand red skirts, make a strikin~ picture. Themen of the group stand back wlth unemotionalfaces, taking apparently little interest in anythingbut their own singing and playing.By this time the pigeons have boldly introducedthemselves to even the most unconcernedvisitor. Fluttering down from the arcades andeaves of the buildings, they take the most[67 ]

THE GARDEN ASPECTSfriendly attitude, which, however, is based on·pure selfishness. Their ever-ready beaks investigateeverywhere for food, and they don't evenstop at descending boldly upon the various .2.artsof human anatomy offering a foothold. Theyseem at home everywhere - on hats, on shoulders,on the lap of every visitor who is willingto contribute food from liberally purchased grainpackages. The pigeons to my mind furnish themost unique note of the Exposition, and it wasa very good idea to encourage the first few ofthese winged ornaments to stay and make themselvesat home. Now their number is hundreds.They seem to be everywhere on the Plaza, particularlywhere choice morsels of food are distributedby ever-ready visitors. To sit on oneof the benches and watch these birds in theirindividual behavior is most entertaining. Theyare all different in color, ranging from pure blackand white, from the slate-blue of the unadulteratedcarrier-pi~eons, through every conceivableshade and tmt of color. By and by onebegins to recognize certain ones of them amongthe many. As different as their colors, so aretheir manners. Some are clownishly pirouettingaround, showing off in youthful vanityothersare sedate, stiffly holdmg up their manlychests as if they had to uphold the dignity of allbirddom. All are intensely interested in eating,only interrupting their material pursuits tomake love to each other, in the true manner ofhuman beings. They are a great family andthey seem all to be guided by a common understandingof signals. Suddenly they will all riseand with clapping wings perform great rhythmic[68 ]

A PATH BEHIND THE BUILDINGSDCoogle

THE GARDEN ASPECTSswirls over plaza and around towers, to settledown again to eating and love-making. Thepigeons of San Marco are older as an institution,but the pigeons of San Diego have a faithfulnessto' a spot which is surprising considering theirrecent settlement.Living in close company with the pigeons, thepeacocks assume their characteristic attitude ofsuperiority. Strutting about in aristocraticfashion, disdainfully, without scrambling for it,they condescend to peck some of the tenderedfood. They do not mingle with the crowd, andthey barely tolerate the company of the pheasants,who in their gorgeous plumage seem toincite them to jealousy and angc;r. The peacocks,however, do not hesitate a bit to show, off. Spreading their tails with wild agitation,they are a curious- combination of dignity andsilliness. The little Australian bush-fowl andguinea-hen complete the picture. It seems sological to animal and man alike - the impressiongrows everYWhere that here is an old andsettled estate, with all the charming detailwhich only individual attention and appreciationof a true milieu can produce. One leavesthe plaza only with much regret, with theknowledge of a certain return to bathe in thesun and listen to Spanish music and the cooingof pigeons. .Further up the Prado to the left, the MoorishGardens hold many attractions to the lover ofnature. Here water has been used generouslyand with fine effect. There is no irregular surfaceof water anywhere in the Exposition withthe exception of the pool under the bridge, and[69 ]

· THE GARDEN ASPECTSall the water used everywhere else gives theimpression of serving as the piquant contrastin the vast expanse ofgarden land. The Lagunain the Botamcal Garden is situated in so sheltereda place that it affords reflected picturesof its architectural surroundin~s all day long,and its name, Laguna de EspeJO, Mirror Lake,soon becomes justified to the visitor. It has allthe characteristics of a formal Spanish pool.Rectangular in shape, of good proportion, it issurrounded by a narrow strip of lawn. Broadwalks lead all around, offering many opportunitiesfor rest in amply provided benches.The Laguna itself is almost devoid of aquaticplant life, in contrast with its adjoining neighborthe Lagunita, which continues the pool, beingreally only a smaller part of it on the other sideofthe east and west axis of the Botanical Gardenin front of the Botanical Building. The Lagunitais alive with the growth of all sorts ofNymphtza. Lilies of all colors have found herea congenial place, sending forth their best flowereffects. There is the pure white with yellowcenter, the pure yellow, the light and dark pink,ranging into darker reds. Pale and dark purpleare also in evidence, and one concludes oncemore that as soon as one has made the reassuringdiscovery that there is one plant which occursin one color only, in pure white, one has to learnthat nature's playfulness will not tolerate suchlimited range of color in one flower. TheLagunita is full of goldfish which thrive underthe sheltering shades of the expansive leaves ofthe mysterious pond-lilies.Before entering the Botanical Building, two[70 ]

THE FOOD PRODUCTS BUILDING. SEEN FROM THE REAR OF THESOUTHERN CALIFOIlNIA COUNTIES BUILDINGDIJltILF~ byGoogle

...THE GARDEN ASPECTSfountain bowls at either end of the central pathbecome increasingly interesting, largely by theirgrotesquely shaped Baroque fountain heads.The Pan motif is here used once more, in aquadrangle combination of the grinning gro-­tesqueness of the ruler of bullrushes and reeds.The only strictly classic bit of architecture hasonce more been used in the pe~gola at the westend. It is the same as in the Montezuma Gardenand it arouses curiosity again on account ofits strictly Greek note. The Botanical Buildingresolves itself into a real joke. One immediatelydiscovers that the raison d'Mre for mostBotanical buildings does not exist here. Oneobserves that there is no difference whateverbetween the luxurious growth of the gardenseverywhere in the Exposition and the carefullytended growth within the building. What seemsat first to be a sheltering roof turns out to be alattice roof admitting light and air of the samekind one finds without. A Botanical Buildingin San Diego is a joke. I cannot hel{> it. Aclimate which will produce Poinsettias, thetender Bignonias, the Begonia, and the BougainfJilleain such profusion outdoors surely needsno sheltered buildings to produce an array offlowers, all kinds of palms, and trees which doequally well outside. I could not help pityingall those incarcerated flowers, which seemed asif confined in a hospital for observation. TheCocos palm does not seem any grander here thanoutside and the majestic rubber-tree does notsend out its branches, with large-lobed leaves,any more vigorously than in the o~en. Eventhe Strelitzia I have seen at San Diego doing[71 ]

lTHE GARDEN ASPECTS'ust as well as here under a bower of woodenath. Its peculiarly shaped spike of blue flowersexplains vividly its popular name, "Bird ofParadise."On closer in"estigation one discovers thesmaller part of the house given over to theheated atmosphere of tropical plant life. Herewe meet the rare children of the tropics, with ahumid atmosphere for their existence. A rareline of Yitis utilis is twinin~ along the steelbeams, sending down its aenal roots into thelukewarm waters of the pool. Here and therethese roots hang so closely as to give the effectof a portiere. Then here are the many rareferns, like the elkhorn ferns and the large perforatedleaves of a plant named Monsteradeliciosa, the"delicious monster." It also hasaerial roots and a most decided tropical appear-'ance, and the fruit is said to be delicious, if onemay believe it of a monster. Another plantattracting attention is the climbing fern ofJapan. It is a splendid climber, and here itmakes a fine showing. In the IJool an aquaticplant with finely cut leaves floats in manyplaces. It is burdened with a most formidablebotanical name-Myriopyllum Proserpinacoides.In spite of Proserpina's larticipation in thebotanical name, it is calle Parrot's feather forshort. One soon gets a longing to be relievedof the enervating, heated air of the artificiallyproduced tropical atmosphere arid to be outagain in the open, which is only a short step.To the student of plant life there is no end ofpleasure in San Diego. Back of the BotanicalBuilding stands, amidst tropical surroundings,[72 ]

THE PERGOLA IN THE BOTANlCAL GARDENDIJltILF~ byGoogle

THE GARDEN ASPECTSa Japanese Tea House. The type is always sovery well preserved in these quaint and intimateexpressions ofa wonderfully artistic people. Nomatter where one goes, no matter in what climes,in Europe or in America, one always has thefeeling that the guiding spirit behind this pavilionis one and the same mfluence, and possiblyit is, since many of the important features arethe result of relIgious and other ideas based onsentiment. The stone lanterns, the high-archedbridge, .the bronze crane, are all suggestive ofthe fact that it is not alone their decorativeeffect but the story they tell which demandstheir presence. Everything is in the right placeand placed in such a way as to give the bes~effect. It is indeed marvelous to study theapparent irregularity and disorder of a Japanesegarden and to discover that its arrangement isorder in the best sense. Every path leads somewhereand never more than once to the samespot. Curving and recurvin~, they open vistasthat one cannot help but notIce, always createdwith fine regard for light and background. Nomatter how recent such a Japanese garden maybe -like the one here - it has at once theappearance of having been in existence for along time. Every space has its suitable occupant,and while there is an immense variety ofdifferent plants in them, they are never fussy.The use of water is equally successful, forexample, in their clever and convincing imitationof the entire course of a stream, from the remotemountain spring to the inland lake, animatedby many grotesquely shaped goldfish. In thecurious forms of the goldfish the Japanese mind[ 73 ]

THE GARDEN ASPECTSexpresses its experimentin~ genius, which runsthrough all Japanese actiVIties.From the intimate character of the Japanesegarden we eventually reach, through a shelteredEath between the Cafe Cristobal and the FoodProducts Building, a large open square givenover entirely to a formal ~arden effect. Devotedto flowers exclusively, it IS a very gay spot at allseasons. Roses in early summer, later onPenstemon and Canterbury Bells, furnish greatbeds of color. This is a more spectacular spotin the Exposition picture, and those who longfor absolute quiet, for a "buen retiro," mustfollow the driveway "EI Paseo," which leadsto the south gate. Here we find the PepperGrove, which to the easterner has more charmthan to the Californian, who is well acquaintedwith the unmanageable forms of this delicatelyleaved tree. The Pepper Grove offers absolutequiet and plenty of shade where one can rest,or move over .to the edge and bask in the sunand inhale the refreshing breezes which blow infrom the sea.Soon the sun will have dipj>ed into the oceanbehind Point Lorna, and the Exposition presentsitself at night in a new appeal. There is nonew experimentation in evidence here in thefield of lighting. The historical style so consistentlyfollowed demanded lantern brackets andvisible sources of light, which have all beendistributed without any effect of confusion orannoyance. The Exposition at night, with ablack-blue sky above, is full of mystery andenchantment. The long, low-ceilinged arcadesseem twice as long at night, in their endless[ 74)

THE PAN FOUNTAINCoogk

THE GARDEN ASPECTSrhythm of arches. Shadows are everywhere,but never a feeling ofunsafeness steals upon one.The heavy ornamentation of the buildings c~stscurious shadow-faces on the walls and thedeeply-set windows become dark notes on thelarge open surfaces. It is the picture of amedilEval city rather than of a modem Exposition.One looks for figures in historical dress,for Romeos and Juliets, but they do not appear,and the modem lover and his lady fair furnishmany conventional substitutes. It is a fineplace to be at night, since the problem of a safereturn to the city through undesirable quartersdoes not exist. A broad thread of light leadsback your way to the city by the sea. The~reat tower is a blaze of light, reaching boldlyrnto the sky, not only for this but for all futuregenerations.It is this thought which controls one's mindin speculating whether it was worth while tomake this effort, single-handed, so to speak. Itwas worth while - not only for the enormousdignity of the undertaking but also for itseducational value to the lay masses. Even ift.he less permanent buildings are eventuallyremoved and their ground areas filled in withlandscape gardens, the beauty of the ensemblewill suffer little. The California Quadranglealone, the structure alike most successful andmost conspicuous, will give a lasting interest tothis great permanent park. Every avenue willhave some permanent emphasis, like the greatOrgan, and further up the Laguna the BotanicalGarden scheme. It is a very pleasing thoughtof the San Diego of the future with its ever-[75 ]

THE GAR.DEN ASPECTSgrowing development entirely encirclin~ thisgreat garden spot we now admire as an Exposition.One by one I hope to see such buildingsas the Sacramento Valley Building replaced justas they stand today, in permanent material, tosatisfy the growing need for Museum Buildings.One by one I hope to see many of them replacedto demonstrate the permanent value of the artof the city planner, which is so convincing herein its practIcal and :Esthetic aspects alike.San Diego may well be Froud of her accomplishments,achieved out 0 the strength of herown resources. During the year 1916 much ofwhat seemed new and crude will become toneddown by the mellowing influence ofthe elements,and her flora will jubilantly blossom forth again.The Bougainvilleas will send out again theirmyriads of gaily colored flower bracts. TheB1,gnonia will again seem to crush the arcadesunder the wealth of their masses of flowers.Again the pigeons will encircle the plaza inhappy abandon, augmented by the cautiousflocks of their new broods - all sure of sustenanceand protection. The atmosphere of sanguineSpamsh life will prevail, under the sameskies which led Father Serra to feel at home ina new country full ofpromise and danger alike.The effect of the Exposition, in a countryscarcely shaped into a permanent type, cannotbut yield the benefits of this revival of an old,impressive civilization. The San Diego ExpositIonwill not have been a mere celebration.It will be considered a milestone in the civilizationof the West.[76 ]

APPENDIX

BIOGRAPHICAL NOTESALLEN, FRANK P., JR.,GOODHUE, BERTRAMGROSVENOR,MORLEY, JOHN,OLMSTED, JOHN,PICCIRILLI, FURIO,PICCIRILLI, ATTILIO,PICCIRILLI, THOMAS,PICCIRILLI, HORATIO,PICCIRILLI, SETALIO,STEWART, HUMPHREYJOHN,WINSLOW, CARLETONMONROE,(Architect) S.o Di..... Bom io Gr.od R....id.. Mich!!J'o, 1876. Educ.ted.t the t1JIilw=..ir( of MII;bJ~. Director of Woru. TheIiYJOI out.D CoDltructioo of the buildioll.od lMuod. ouuld. of the Califomi. Qu.d·r.III1•.(Architect) New York. Bom .t Pomfort,CoODectiCUt, 1869. Studied .t hom. .od.broad. Superviai"l.od CoolultiDi Architectofthe Ezpoaitioo. Th. Califomi.Quadr.III1•.(Land.cape EOIPoeer) S.o Di'ID. Bom inScodand. SUperiotendoot of Paru.(L.odacape Architect) Braokli0"1 Muaachuaetta.Bom .t Geo..... Swiaerl.od. ofAmerican p.reou.1852. Studied at Yale .odwith Frederic L... Olmated. CooaultiolLandac.pe Architect.(Sculptor) New York; Bom io M..... It.ly.1868. Studi.d .bro.d. Th. lCulptur.1 .rchi.tectural decor.tiooa ofthe EzpoaitloD io coU.b·or.tioo ..ith hie broth.....(Sculptor) New York. Bom io Mu... Italy,1866. Studied .broad.(Sculptor) New York. Bom io Man.. Italy.1876. Studied in the Uoited Statea.(Sculptor) New York. Bom io M•••• Italy.1878. Studied io the United Stat...(Sculptor) New York. Bom io Man.. Italy,1880. Studied in the Uoited St.teL(Muaician .od Compoaer) S'D DiOJO. BomLoodoo, 1856. Studied .broad. E"poaitioDOriaaist.(Architect) San Di..... Bom D.m.riac:ott..Maio.. 1876. Studied .broad. ReaidentArchitect repreaeotiol Mr. Goodhue. Supe....iot.od.ot of CoDltructioD of the CaliforniaOuadralJl\e.[79 ]

AVI~O, LA. Put-kTAo peL .au..... L~ .UC',,"T4 De\. Q."TI~ l..A L ......"'_"