Recital Hall, on the second floor of Festival Hall, eastern end, contains fine stained glass windows.Designer and executor, Charles J.
Connick, of Boston.Three windows, a small one or, the landing of the north stairway, and two larger ones on the west wall of the hall itself.
On the stairway.Figure of a young monk bearing a scroll inscribed with "Venite exultamus domin" ("Come, let us exalt the Lord").
In the hall, window to the left.In the large tipper section, a figure of St.Martha of Bethany.Below, Christ and three women, one kneeling.
In the hall, window to the right.In the large tipper section, figures of two men, the wise men, one watching the star, one seated reading; an owl and a lantern in the window also.In the small section below, a ship with a cross on the main sail; the cross is of the design used in the Crusades.
Court of FlowersCourt of Flowers, by Kelham.Italian Renaissance, Byzantine touches.
Opposite Festival Hall, between Palaces of Varied Industries and Mines.
Details different from Court of Palms; ornament richer.
Figure on tower, "The Fairy," by Carl Gruppe.
Palaces at sides of court: to the west, Manufactures; to the east, Varied Industries.
Italian towers, by Kelham, same feeling.Outlines on top different from those in Court of Palms.
"The American Pioneer," equestrian statue at entrance, by Solon Borglum, of New York.Patriarchal.Suggests Joaquin Miller.Warlike trappings of horse picturesque, but sixteenth century Spanish, out of place.
Spanish loggia around second story of court, southern in feeling, implying warm climate.
"Oriental Flower Girl," female figure in niches along loggia, by Calder.
Griffons around frieze on top of columns.
Corridors, pink walls, smoked olive columns with orange capitals.
Against wall, Corinthian coupled pilasters.
Roman banging lamps, by Kelham, suggest bronze, great weight.Bronze, pink, green, and cream.Italian bronze lanterns suggest blue eucalyptus.
Lamp standards between columns, globe half concealed, by Kelham.Charm of effect, improvement on those with globe wholly visible.
Conventionalized lions in pairs at portals, by Albert Laessle, of Philadelphia.
Fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco.
Sandals and hat on woman.Beast at her feet.Fauns and satyrs, piping, under circular bowl.Frieze outside edge of bowl, lion, bear, ape, and tiger repeated; playful.Designed for Court of Palms to be seen from above.
Lophantha trees, trimmed four feet from ground, branching out six feet across, along walks.
Vista through fairy-like Court of the Ages to Florentine Tower and blue sky beyond, from south entrance of Court of Flowers.
Along the South Wall, East of Tower of JewelsPalaces facing Avenue of Palms, from east to west: Varied Industries, Manufactures, Liberal Arts, Education.
South facade of Palace of Varied Industries, by Faville.High walls, seventy feet in height, suggest eighteenth century California missions.
Green domes on corners, Byzantine, inspired by mosques of Constantinople.
Coloring of flags, cerulean blue, pastel red, and burnt orange.
Windows in corners, mosque design.Little hexagonal kiosks at corners below domes, Moorish.
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 ProgressPlanting, 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.
