The City of Domes [53]
to the south, Liberal Arts.
Quotation on Arch of Setting Sun, facing Venetian Court, chosen by Garnett. Panels from left to right: "The world is in its most excellent state when justice is supreme," from Dante, the Italian poet; "It is absolutely indispensable for the United States to effect a passage from the Mexican Gulf to the Pacific Ocean, and I am certain that they will do it. Would that I might live to see it. But I shall not," from Goethe, the German poet; "The Universe, an infinite sphere, the center everywhere, the circumference no where," from Pascal, the French philosopher.
Italian Renaissance architecture.
Colors rich and well harmonized; pink and green.
Picturesque lattice work in small doorways.
Lighting standards, by Faville.
Goats' heads at top of standards, just below the globe.
Arches on sides, coupled Corinthian columns. Endeavor to make them more interesting than formal type of fluted columns. Four designs. They add to richness of court.
Winged figures over arches, by Faville.
Blue medallions above arches, Faville. Italian adaptation of Byzantine, Ship of State, the Bison, the Twins holding garlands representing abundance, the horn of plenty and cadeucus, and tree.
Coloring under eaves, bright shades, blue and orange.
Planting, by McLaren, well-massed, in great profusion.
Court of Four Seasons
Court of Four Seasons, Henry Bacon, of New York, architect. Hadrian's Villa used as model for half-dome and columns in front of fountain. Italian Renaissance in feeling. Every detail in classic spirit. Gives impression of seclusion and peace.
Quotations on gateways chosen by Garnett. On the eastern gateway, "So forth issew'd the seasons of the yeare - first, lusty spring all dight in leaves and flowres - then came the jolly sommer being dight in a thin cassock coloured greene, then came the autumne all in yellow clad - lastly came winter cloathed all in frize, chattering his teeth for cold that did him chill," from "The Faerie Queene," by Edmund Spenser. On the western gateway, "For lasting happiness we turn our eyes to one alone, and she surrounds you now, great nature, refuge of the weary heart and only balm to breasts that have been bruised. She bath cool hands for every fevered brow and gentlest silence for the troubled soul," from "The Triumph of Bohemia," by George Sterling.
Palaces around court: northeast, Agriculture; northwest, Food Products; southwest, Education; southeast, Liberal Arts.
Emerald pool. Surrounded by shrubbery. No sculpture. Architectural term, a "black mirror." Fine reflections.
Planting, by McLaren, simple and effective. Trees, olive, acacia, eucalyptus, cypress, laurel. All foliage, grey-green; banner poles same color.
Banners, by Ryan; no heraldic designs.
Best view of court from between columns of Fountains of Spring or Autumn.
Bulls at sides, above entrance to north court, "Feast of the Sacrifice," by Albert Jaegers, of New York. Youth and maiden leading bulls to harvest festival, suggested by great garlands.
Roman eagles below bulls on four corners of north court.
Bull's head with festoons, skull motive, at base of corner pavilions at four corners of north court, Roman.
Lion's head around cornice, designed by the architect, modelled by artisans of Exposition.
Bulls' heads above cornices between festoons of flowers around court. Roman motive.
Statue above south dome, "Harvest," by Albert Jaegers. Seated figure with horn of plenty. Fruits and grains on either side.
"Abundance," statue repeated four times over each gateway, by August Jaegers.
Vases repeated twenty-four times on balustrade around court; simple design, in harmony with classic plan of court.
Wreaths above cornice around court, harvest motive, wheat and grape.
Figures in triangular spaces over three arches of each gateway, repeated. By August Jaegers. Harvest motive.
In ceiling of east and west arches, faint relief, terra-cotta effect, Greek designs; coloring, orange, faint greens, and browns.
Signs of zodiac on gateways,
Quotation on Arch of Setting Sun, facing Venetian Court, chosen by Garnett. Panels from left to right: "The world is in its most excellent state when justice is supreme," from Dante, the Italian poet; "It is absolutely indispensable for the United States to effect a passage from the Mexican Gulf to the Pacific Ocean, and I am certain that they will do it. Would that I might live to see it. But I shall not," from Goethe, the German poet; "The Universe, an infinite sphere, the center everywhere, the circumference no where," from Pascal, the French philosopher.
Italian Renaissance architecture.
Colors rich and well harmonized; pink and green.
Picturesque lattice work in small doorways.
Lighting standards, by Faville.
Goats' heads at top of standards, just below the globe.
Arches on sides, coupled Corinthian columns. Endeavor to make them more interesting than formal type of fluted columns. Four designs. They add to richness of court.
Winged figures over arches, by Faville.
Blue medallions above arches, Faville. Italian adaptation of Byzantine, Ship of State, the Bison, the Twins holding garlands representing abundance, the horn of plenty and cadeucus, and tree.
Coloring under eaves, bright shades, blue and orange.
Planting, by McLaren, well-massed, in great profusion.
Court of Four Seasons
Court of Four Seasons, Henry Bacon, of New York, architect. Hadrian's Villa used as model for half-dome and columns in front of fountain. Italian Renaissance in feeling. Every detail in classic spirit. Gives impression of seclusion and peace.
Quotations on gateways chosen by Garnett. On the eastern gateway, "So forth issew'd the seasons of the yeare - first, lusty spring all dight in leaves and flowres - then came the jolly sommer being dight in a thin cassock coloured greene, then came the autumne all in yellow clad - lastly came winter cloathed all in frize, chattering his teeth for cold that did him chill," from "The Faerie Queene," by Edmund Spenser. On the western gateway, "For lasting happiness we turn our eyes to one alone, and she surrounds you now, great nature, refuge of the weary heart and only balm to breasts that have been bruised. She bath cool hands for every fevered brow and gentlest silence for the troubled soul," from "The Triumph of Bohemia," by George Sterling.
Palaces around court: northeast, Agriculture; northwest, Food Products; southwest, Education; southeast, Liberal Arts.
Emerald pool. Surrounded by shrubbery. No sculpture. Architectural term, a "black mirror." Fine reflections.
Planting, by McLaren, simple and effective. Trees, olive, acacia, eucalyptus, cypress, laurel. All foliage, grey-green; banner poles same color.
Banners, by Ryan; no heraldic designs.
Best view of court from between columns of Fountains of Spring or Autumn.
Bulls at sides, above entrance to north court, "Feast of the Sacrifice," by Albert Jaegers, of New York. Youth and maiden leading bulls to harvest festival, suggested by great garlands.
Roman eagles below bulls on four corners of north court.
Bull's head with festoons, skull motive, at base of corner pavilions at four corners of north court, Roman.
Lion's head around cornice, designed by the architect, modelled by artisans of Exposition.
Bulls' heads above cornices between festoons of flowers around court. Roman motive.
Statue above south dome, "Harvest," by Albert Jaegers. Seated figure with horn of plenty. Fruits and grains on either side.
"Abundance," statue repeated four times over each gateway, by August Jaegers.
Vases repeated twenty-four times on balustrade around court; simple design, in harmony with classic plan of court.
Wreaths above cornice around court, harvest motive, wheat and grape.
Figures in triangular spaces over three arches of each gateway, repeated. By August Jaegers. Harvest motive.
In ceiling of east and west arches, faint relief, terra-cotta effect, Greek designs; coloring, orange, faint greens, and browns.
Signs of zodiac on gateways,