The City of Domes [60]
Central portal, after portal of Santa Cruz Hospital, in Toledo, Spain. Sixteenth century Spanish Renaissance, plateresque. Lattice-work effect in doorway in harmony with lace-like silver-platter style. Niche walls pink, with ultramarine blue.
Pope Calixtus III sent for a Spanish goldsmith, Diaz, to do work for him in Rome. Diaz returned to Spain, carrying the influence of the Italian Renaissance. He met the son of the architect of the cathedral at Toledo, De Egas. To the son he imparted his knowledge and the son applied it to architecture, creating the plateresque style. Till then all Spanish cathedrals had shown the Gothic influence from the north.
Figures on large door by Stackpole. Upper figures, "Age Transferring His Burden to Youth," America. Figure in center piece of arch, "Power of Industry," the American workman. Figures in half circle above door, "Varied Industries," from left to right, Spinning, Building, Agriculture, Manual Labor, and Commerce. Figure repeated four times in lower niches, "Man with the Pick."
"California Bear" and "California Shield" on buttresses, or square columns supporting wall. Used in old mission buildings.
Avenue of Progress
Planting, some of the best landscape effects in Exposition. Against buildings, Monterey cypress; banked by Lawson cypress in front and between these, spruces and Spanish fir.
Machinery Palace, Ward & Blohme, of San Francisco, architects. Italian Renaissance, inspired by Roman baths. Like Baths of Caracalla. Largest building of its kind in world; three blocks long, seven acres in area.
Banners, by Ryan, heraldic designs of early Spanish explorers and soldiers.
Lophantha lawn, designed by John McLaren, trees trimmed off four feet above ground, and trained to grow flat alongside Palace of Varied Industries.
East facade of Varied Industries, made Italian to harmonize with Italian Machinery Palace.
Main portal, like gateways of old Roman walled cities.
"The Miner," in niches of gateway, by Albert Weinert of New York.
Small portals Italian, fine color effect; lattice-work, orange, blue, light green'.
Sculpture on Machinery Palace, by Haig Patigian, of San Francisco.
Large columns in front and in vestibule of half dome, imitation Sienna marble.
Small portals, orange columns at sides, pink niche, blue dome, orange above dome; pleasing tone,
Corinthian columns at sides of portals; eagles at corners of capitals, at top, symbolize inspiration.
Frieze around drums at base of columns "Genii of Machinery," by Haig Patigian; eyes closed, signifying Power of the spirit, or blind fate.
Figures in triangular spaces on either side above doorways, "Application of Power to Machinery," by Haig Patigian.
Figures on tall Sienna marble columns, "Power," "by Haig Patigian. "Steam Power," with lever. "Invention," carrying figure with flying wings, suggesting quickness of mind. "Imagination, eyes closed. Eagle bird of inspiration, about to fly. "Electricity," foot on earth, carrying symbol.
Eagles repeated on bar, the entablature, across front of domes; symbol of inspiration.
Coloring in vestibule of Machinery Palace: Finely harmonized; brown and brick-colored walls; orange and blue ceilings; green lattice work.
"Genius of Creation," group before court leading to Court of Ages, Daniel Chester French. Spirit above, a woman, creating life from shapeless mass of earth below. Man at left, courageous and enterprising; woman at right, timid, hesitating. Serpent, symbol of wisdom, coiled about mass.
Court of Mines, Leading to Court of Ages
Coloring, pink walls, pink streamers, by Guerin. Green shell lamp posts, by McKim, Mead & White, architects. Called "Pink Alley" by workmen during construction.
Palaces on sides of court: to the north, Mines; to the south, Varied Industries.
Lamp standards against walls, dark bronze, smoked ivory globes, by Faville.
Flat Ionic columns, called pilasters, against walls, by Faville.
Figure in niches, "The Miner," by Albert Weinert.
Court of the Ages
Court