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THE SAN DIEGO GARDEN FAIR 
 

 "VIEW OF THE EXPOSITION FROM BALBOA PARK 
 
THE SAN DIEGO 
 GARDEN FAIR 
 
 PERSONAL IMPRESSIONS 
 
 OF THE ARCHITECTURE, SCULPTURE 
 
 HORTICULTURE, COLOR SCHEME 
 
 & OTHER AESTHETIC ASPECTS 
 
 oft/be PANAMA CALIFORNIA 
 
 INTERNATIONAL 
 
 EXPOSITION 
 
 By 
 
 \xU- EUGEN NEUHAUS 
 
 ASSISTANT PROFESSOR OF 
 
 DECORATIVE DESIGN, UNIVERSITY OF 
 
 CALIFORNIA • AUTHOR OF THE ART OF THE 
 
 EXPOSITION an^ THE GALLERIES 
 
 OF THE EXPOSITION 
 
 PAUL ELDER AND COMPANY 
 PUBLISHERS. SAN FRANCISCO 
 
COPYRIGHT, 1916, BY 
 
 PAUL ELDER & COMPANY 
 
 SAN FRANCISCO 
 
 ..4'^V'^ 
 
 '^V^ 
 
 MAR 27 1916 
 
 €)CI,A428272 
 
To the memory of 
 Father Junipero Serra 
 and to his fellow pioneers whose saintly devotion 
 and dauntless courage established Christi- 
 anity and civilization in California 
 March J, igi6 
 
Publisher s Announcement 
 
 The great success of the two hooks hy Mr. Neuhaus 
 on the Panama-Pacific International Exposition 
 at San Francisco last year and the continuation 
 of the Panama California International Expo- 
 sition at San Diego into the year igi6 were the 
 direct causes of this book, which it is hoped will he 
 received with the same generous appre- 
 ciation as the others 
 March i, igi6 
 
CONTENTS 
 
 PAGE 
 
 INTRODUCTION . xi 
 
 The setting, the first impression. 
 
 THE HISTORICAL BACKGROUND .... 3 
 
 The romantic events and adventures of the early days of 
 California. 
 
 THE GENEALOGY OF THE ARCHITECTURE 14 
 
 The influences which contribute toward the Exposition 
 architecture. 
 
 THE BUILDINGS .25 
 
 The interrelations of the ensemble and the color scheme. 
 
 THE GARDEN ASPECTS 59 
 
 The horticultural and other outdoor features. 
 
 APPENDIX ............ 77 
 
 Biographical notes. The ground plan and guide. 
 
 [vn] 
 
LIST OF ILLUSTRATIONS 
 
 FACING PAGE ^ 
 
 View of the Exposition from Balboa Park {Frontispiece) 
 
 Mission San Diego de Alcald 6^ 
 
 The California State Building 8^ 
 
 The outer walls from the Palm Canon 10 '^ 
 
 The Puente Cabrillo from below 12^^ 
 
 Over the Puente Cabrillo towards the Exposition 14y^ 
 
 The Entrance to the California Quadrangle ^^ / 
 
 The Fagade of the California Building 18 
 
 Along the Prado 20 "^ 
 
 Window detail of the California Building 22 '^ 
 
 Nightshade growing on the Arcade 26 "^ 
 
 East Balcony in the Refectory of the California Building ... 28"^ 
 Glimpse of the Montezuma Garden — the Tower of the Indian ^ 
 
 Arts Building in the distance 32 
 
 West Balcony in the Refectory of the California Building . . 34 
 
 Patio within the Science and Education Building 36 
 
 The Altar in the Serra Chapel 38 »^ 
 
 The Commerce and Industries Building — the Laguna in the , 
 
 foreground 40 "^^ 
 
 The Food Products Building 42 "^ 
 
 The Arcade of the Science and Education Building .... 44 '^ 
 The Food Products Building from the Botanical Garden — the 
 
 Lagunita in the foreground 46 "^ 
 
 The Organ on the Plaza de los Estados 48 </, 
 
 Decorative Flower Urns on the Prado 50 
 
 The Towers of the Food Products Building on the Calle Cristobal 52 /^ 
 
 The Fountain in the Botanical Garden 54 '^ 
 
 The Pigeons on the Plaza de Panama 56 k 
 
 The Southern California Counties Building 60 ^^ 
 
 In the Patio of the Science and Education Building .... 62 i^ 
 
 The Sacramento Valley Building 66 i^ 
 
 A Path behind the Buildings 68 1/ 
 
 The Food Products Building, seen from the rear of the Southern y 
 
 California Counties Building 70 y 
 
 The Pergola in the Botanical Garden 72 ^ 
 
 The Pan Fountain 74 ^ 
 
 Ground Plan of the Exposition 80/ 
 
 [IX] 
 
INTRODUCTION 
 
 THE San Diego Exposition has many times 
 been spoken of as a little gem, and while this 
 description may savor of the colloquial, it is the 
 best possible complimentary characterization. A 
 gem indeed it is, not alone for the lustre of its 
 architecture but largely for the splendor of its set- 
 ting, which gives it a most unique distinction 
 among expositions past and recent. 
 
 We observe here at San Diego for the first time 
 a setting, a natural site, which on all sides gently 
 and logically connects with the surrounding coun- 
 try. In the olden days, and even yet in recent days, 
 exposition sites have often been selected like the 
 conventional baseball field, by choosing a remote 
 and undesirable piece of land which held out no 
 attractions other than those temporarily trans- 
 planted. They seldom approached their immediate 
 surroundings in a reverent and sympathetic way. 
 In the old days it has too often been an ordeal to 
 approach expositions — it seemed as if the most 
 disreputable parts of towns — the slums — the 
 most depressing sights of the town, had been 
 selected to tune up the visitor in his approach for 
 the more cesthetic sights within the gates. It has 
 been that way with some of our recent expositions 
 on the American continent, particularly where 
 there was no other choice. 
 
 Here in San Diego this is delightfully different 
 — one does not even know where the Exposition 
 really begins. An enchanting park, beginning 
 almost in the heart of the city, stretches toward the 
 Exposition, affording distant glimpses of the archi- 
 
 [XI] 
 
INTRODUCTION 
 lecture here and there, and if it were not for the 
 ultimate unavoidable conventional turnstile, the 
 physical boundaries of the Exposition would never 
 disclose themselves to the expectant visitor. I had 
 the feeling of being in the Exposition grounds long, 
 long before the dropping of the obolus disillusioned 
 me. There are no fences nor hedges — at least no 
 visible boundary lines — to remind one of the 
 physical separation of the Exposition and the city. 
 Indeed there is none, and it is this novel condition 
 which is so conducive to preserving one's mental 
 equilibrium, which so often is disturbed after one 
 has been pushed from the bleak outside into the 
 presence of the wonders of an exposition. 
 
 There is absolutely nothing startling about the 
 San Diego Garden Fair. It is a haven of rest — 
 a vast retreat — it acts like a tonic. The first 
 glimpses one catches of its architectural aggregate, 
 and particularly of the tower, are like a vision of 
 romance. I thought of Maxfield Parrish and the 
 thought never left me. Crowning a distant ridge, 
 approached by a bridge of monumental proportions, 
 one sees the unique architecture of the tower, the 
 most successful architectural unit of the entire 
 Exposition. Immediately adjoining and a part 
 of the scheme, other light buildings lose themselves 
 amidst the subtropical verdure of this amazing 
 garden. The whole impression one gains is that 
 of a vast private estate of an immensely rich 
 Spanish grandee, rather than of a modern expo- 
 sition. It is a sumptuous array — most impres- 
 sive to the eye merely as a decorative feature. It 
 has a distinct character which is due to the happy 
 combination of a distinct type of architecture, 
 reviving the resplendence of the Spanish-Mexican 
 
 [XII] 
 
INTRODUCTION 
 
 baroque and the more simple form of the Mission 
 style of New Mexico and California^ both asso- 
 ciated with the romantic events of the early history 
 of America. 
 
 Whatever one may call it historically, it may be 
 said that many of the buildings seem very successful 
 in the strictly historical impression they create. It is 
 very difficult to believe that the charming paradise 
 which holds the Exposition buildings at one time 
 was a dry mesa — a tableland overgrown with 
 chaparral and overrun by coyotes. One has to 
 know what can be done with a southern Calif ornian 
 climate and an abundance of water in order to 
 appreciate the luxuriousness of that carpet of 
 verdure which has been spread over the formerly 
 barren hills. Fragrant with the penetrating odor 
 of the acacias and the perfume of hundreds of 
 flowers, these hills are a solid mass of every type 
 of shrub and tree that grows in a salubrious climate. 
 
 I know it is generally considered in poor taste 
 to speak of climate in relation to California, but I 
 cannot help but speak of the truly ideal weather 
 conditions I encountered during my visits, both 
 in May of igiS cind in January of igi6. Such 
 skies and soft breezes — they are not the lot of 
 mortals everywhere. No wonder the people at 
 San Diego are optimistic enough to want to extend 
 their Exposition into another year. Since it does 
 not in any way interfere with the use of valuable 
 properties needed for other purposes, let alone the 
 continuance of the pleasure the Exposition affords, 
 it would have been regrettable to have adhered to the 
 original one-year plan. 
 
 [ XIII ] 
 
THE SAN DIEGO GARDEN FAIR 
 
THE HISTORI CAL 
 BACKGROUND 
 
 THE physical remoteness of San Diego from 
 the rest of the world and the lack of 
 knowledge of the history of the extreme west so 
 common with the general masses, make it almost 
 imperative to point out a few of the more 
 important facts in the very romantic history of 
 this part of the world. Moreover, the rightful 
 claims of San Diego to celebrate with such 
 conspicuous success the completion of the 
 Panama Canal are based on very interesting 
 historical facts which go back to the discovery 
 of the Isthmus and the many subsequent explo- 
 rations which at last brought white settlement 
 to San Diego. 
 
 Four hundred and three years have passed 
 since Balboa, on his westward journey, found 
 himself barred from further marine exploration 
 by the Isthmus of Panama. His achievement 
 must be measured by the record of Columbus 
 in his journey of 1492, about twenty years before 
 him, in reaching the little island of San Salvador. 
 In crossing the Isthmus Balboa looked down 
 upon the placid blue waters of the Pacific 
 Ocean, which he claimed, with all adjacent 
 lands, as the property of His Majesty the 
 Spanish King. It was a rather extravagant 
 procedure, but the good Balboa was not restricted 
 in his claim by the slightest knowledge of the 
 
 [3] 
 
THE HISTORICAL BACKGROUND 
 
 vastness of the ocean or the lands constituting 
 its shore. It took some time, about another 
 twenty years, before an expedition went to 
 investigate the magnitude of Balboa's claim. 
 They went north to see what these mythical 
 properties were. A Portuguese, Juan Rodriguez 
 Cabrillo, a man of adventurous mind, in the 
 service of Spain, headed the party, and we learn 
 from our historians that in the year 1542 he 
 sailed into what is now San Diego harbor. For 
 a long time it was called San Miguel, and not 
 until many years after was the name San Diego 
 given to it, a name it still holds. 
 
 Early in the next century, in 1602, Vizcaino 
 and his band formed the second party to run 
 up the west coast of the North American con- 
 tinent. For chronological comparison it may be 
 stated that this was at a time before Samuel 
 de Champlain carried the Lilies of France up 
 the St. Lawrence and up the Richelieu into 
 what is now American territory, exploring the 
 lake which still bears his name. Vizcaino had 
 even landed before Hudson carried the Dutch 
 flag into New York harbor and before the 
 English pilgrims landed at Plymouth and started 
 the English colony in New England. In that 
 way the history of the western coast had a very 
 early beginning. 
 
 Unfortunately the state of affairs in Spain in 
 particular and in Europe in general was such as 
 to give very little promise for the early develop- 
 ment of these remote Spanish possessions. 
 Internal dissensions and troubles in other colo- 
 nies were the direct cause. Moreover, to make 
 matters worse, extensive European wars con- 
 
 [4] 
 
THE HISTORICAL BACKGROUND 
 
 tributed to the delay, and it was not until 1769 
 that a really important expedition left Mexico 
 overland, with Portola in charge. While on 
 former occasions these expeditions were made up 
 of the most adventurous characters, Portola's 
 expedition had the great good fortune of having 
 as its member the inspired priest and energetic 
 worker Fray Junipero Serra. 
 
 Only a few years ago the citizens of San Diego 
 wished to honor him by raising a giant cross 
 made from the stone found in the crumbling 
 ruins of the old mission which he had built and 
 where he had sung the first mass in 1769. The 
 committee in charge of the ceremonies was 
 composed of people of all creeds, proving that 
 not Catholic alone recognized the splendid spirit 
 of that old Franciscan. The name of Cabrillo, 
 the discoverer, we find perpetuated in bridges 
 and plazas, but to Serra, the modest priest, the 
 civilizer, are other monuments. These are the 
 twenty-one Missions that line El Camino Real, 
 the King's Highway, seven hundred miles — 
 stretching from San Diego to Sonoma, north of 
 San Francisco. His monuments are the palms, 
 the olives, the ranches, the civilization of Cali- 
 fornia and the far West. Junipero Serra had 
 been an active soldier of the church since boy- 
 hood. He was fifty-six years old when Spain 
 decided to make use of the territory which had 
 long been hers by right of discovery and which 
 she was in danger of losing. Because of his 
 labors in New Spain he was sent along with the 
 soldiers to make permanent settlement in the 
 new land at the north of which the discoverers 
 had told. When the expedition was about to 
 
 [5] 
 
THE HISTORICAL BACKGROUND 
 
 Start he was delayed by an injury to his foot — 
 an injury from which he never fully recovered. 
 A party of soldiers sailed from La Paz on 
 January 9, 1769, aboard the San Carlos, another 
 aboard the San Antonio in February, and a 
 third aboard the San Jose still later. This last 
 one was never heard of again. On land, two 
 parties set forth. The crippled priest blessed 
 them as they left, and went back to his bed to 
 await the healing of his foot, and only a few 
 days later followed after them, to join Governor 
 Portola. Two days after his arrival he wrote 
 to a fellow priest at home : 
 
 My Dear Friend and Sir: 
 
 Thank God, I arrived the day before 
 yesterday at this port of San Diego, truly a fine 
 one and with reason famous. Here I found those 
 who had set out before me, by sea as well as by 
 land, except such as died on the way. The 
 brethren. Fathers Crespi, Vizcaino, Parro, and 
 Gomez, are here and with myself all well, thanks 
 to God. Here also are two vessels, but the San 
 Carlos is without seamen, all having died except 
 one and the cook. The San Antonio, although she 
 sailed a month and a half later, arrived, twenty 
 days before the San Carlos; losing on the voyage 
 eight seamen. 
 
 In consequence of this loss the San Antonio will 
 return to San Bias, to procure seamen for herself 
 and the San Carlos. The causes of the delay of 
 the San Carlos were, first, the lack of water, and 
 second, the error in which all were respecting the 
 situation of this port. They supposed it to be in 
 thirty-three or thirty-four degrees north latitude, 
 
 [6] 
 
MISSION SAN DIEGO DE ALCALA 
 
THE HISTORICAL BACKGROUND 
 
 and strict orders were given Captain Vila and the 
 rest to keep out in the open sea until they should 
 arrive in thirty-four degrees, and then make the 
 shore in search of the port. As, however, the port 
 really lies in 52 degrees 43 minutes, according to 
 observations which have now been made, they went 
 far beyond the port, thus making the voyage much 
 longer than was necessary. 
 
 The people got daily worse from the cold and the 
 bad water; and they must all have perished if they 
 had not discovered the port about the time they did; 
 for they were quite unable to launch the boat to 
 procure more water, or to do anything whatever for 
 their preservation. The Father Fernando did 
 everything in his power to relieve the sick; and 
 although he arrived much reduced in flesh he had 
 not the disorder and is now well. We have not 
 suffered hunger or privations, nor have the Indians 
 who came with us. All have arrived fat and 
 healthy. 
 
 The tract through which we have passed is 
 generally very good land, with plenty of water; 
 and there as well as here the country is neither 
 rocky nor overcome with brushwood. There are, 
 however, many hills, but they are composed of 
 earth. The road has been in many places good, 
 but the greater part bad. About half way the 
 valleys and banks of rivulets began to be delightful. 
 We found vines of a large size and in some cases 
 quite loaded with grapes. We also found abun- 
 dance of roses, which appeared to be the same as 
 those of Castile. In fine, it is a good country, and 
 very different from that of Old California [meaning 
 the Peninsula]. 
 
 We have seen Indians in immense numbers, 
 
 [7] 
 
THE HISTORICAL BACKGROUND 
 and all those on this coast of the Pacific contrive to 
 make a good subsistence on various seeds and by 
 fishing. This they carry on by means of rafts or 
 canoes made of tule [bullrush] by which they go a 
 great way to sea. All the males, old and young, 
 go naked. The women, however, and even the 
 female children, were decently covered from their 
 breasts downwards. We found in our journey, as 
 well as in the places where we stopped, that they 
 treated us with as much confidence and good will 
 as if they had known us all their lives; but when 
 we of ere d them any of our victuals they always 
 refused them. All they cared for was cloth, and 
 only for something of this sort would they exchange 
 their fish or whatever else they had. 
 
 From this port and intended mission of San 
 Diego in northern California, 3rd July, 176Q, I 
 kiss the hands of Your Reverence, and am your 
 affectionate brother and servant. 
 
 Fr. Junipero Serra. 
 
 A story sometimes told is that the soldier 
 members of his party turned out to be less 
 worthy of reliance than one might have expected, 
 and when the promised reinforcement did not 
 arrive, they became weary and disheartened and 
 ultimately demanded to be returned south. 
 Fray Serra implored the leader for delay, with 
 scant success, until things became rather critical. 
 **One more day," was Father Serra's plea, and 
 the day was reluctantly granted. It was all 
 they were willing to give, and if no support 
 should arrive after that day they would all go. 
 In his great predicament Father Serra went to 
 the crest of the hill back of the camp and prayed 
 
 [8] 
 
THE CALIFORNIA STATE BUILDING 
 
THE HISTORICAL BACKGROUND 
 
 all through the afternoon, until the golden rays 
 of the setting sun began to lose their splendor. 
 In despair he cast one more forlorn glance out 
 upon the sea, and sure enough there was a sight 
 which caused his sorrow to vanish. The next 
 minute he was rushing down the hill into camp, 
 shouting and weeping with joy. Back up the 
 hills the soldiers dashed, and when they too saw 
 that Father Serra's wish had been fulfilled, there 
 was no more talk of immediate return, and when 
 the relief expedition came into port, it turned 
 out to be a large body who had lost their way, 
 mistaking the charts. Cruising up and down 
 the 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 hap- 
 pened that way, perhaps it was ! 
 
 In this way the little settlement became per- 
 manent. The little Mission which he had built 
 at the Presidio hill was abandoned and several 
 miles up the valley was founded the Mission of 
 San Diego de Alcala — the first mission on 
 California soil — on the sixteenth of July, 1769. 
 This laid the foundation of that long chain of 
 twenty-one missions which marks the progress 
 of the northward march of the Christian civili- 
 zation of the Franciscan padres. About every 
 forty or fifty miles the missions grew up, to 
 offer the weary wanderer a resting place after 
 a full day's journey. 
 
 The entire character of the Exposition, archi- 
 tecturally speaking, is so intimately connected 
 with the Missions of Mexico and California that 
 even the barest outline of the growth and prog- 
 ress of these peculiar centers of civilization is 
 
 [9] 
 
THE HISTORICAL BACKGROUND 
 
 of much assistance in doing justice to the 
 romantic character of the San Diego Fair. 
 
 The San Diego Mission was not allowed to 
 enjoy an uninterrupted peaceful existence be- 
 cause on a November night in 1775 a large and 
 bloodthirsty band of interior Indians, about a 
 thousand strong, attacked the Mission and set 
 fire to the chapel and other buildings. During 
 the attack Father Luis Jayme, a Franciscan, 
 and a number of others were killed. While the 
 buildings were burning Father Jayme, according 
 to historical reports, is said to have walked 
 right out to the wildest group of savages, extend- 
 ing his usual greeting, "Children, love God!" 
 The Indians allowed him to come within a few 
 feet, and then riddled his body with arrows. 
 They threw his body into a little olive orchard, 
 which is still standing and bearing fruit. Within 
 it today is a low wooden fence with a plain cross 
 where sleeps the first Christian martyr of Cali- 
 fornia. Down the valley stands the last of the 
 palm trees which Serra set out, apparently good 
 for many years to come. Almost in its shade 
 sleep the Spanish soldiers who succumbed to 
 the long wait for the relief party. 
 
 When Father Serra returned from a northern 
 journey, instead of being discouraged he set out 
 with accustomed zeal rebuilding the Mission 
 and then went on again to the north, founding 
 more missions along El Camino Real, the King's 
 Highway. He never returned. 
 
 There is a great wealth of romance in history 
 of that sort and when one studies the history of 
 southern California, one finds that many fine 
 traditions, the love of beauty, too, are a part of 
 
 [10] 
 
THE OUTER WALLS FROM THE PALM CAiJON 
 
THE HISTORICAL BACKGROUND 
 
 the old Spanish civilization. It was apparently 
 the realization of that beauty, almost forgotten, 
 which impelled the San Diego Exposition to 
 revive in its architectural scheme not the con- 
 ventional forms of classic traditional art so 
 universally used at expositions, but the type 
 peculiarly belonging to California and reaching 
 back to the glorious period of its inception. 
 
 Before allowing oneself the pleasure of his- 
 torical analysis of the Spanish-Mexican style, a 
 few more excursions into the field of the activities 
 of the Spanish missionaries may be allowed, 
 since a proper understanding of their own atmos- 
 phere is so helpful in contemplating the beauty 
 of the general character of the Exposition. It 
 should be remembered that Father Serra's 
 indomitable will power not only led to the 
 establishment of the first Mission in California, 
 but also laid the foundation for a general 
 Christian civilization on the whole Pacific Coast. 
 It was he who snatched from the darkness and 
 ignorance of heathendom an entire savage race, 
 lifting it into the light and intelligence of the 
 civilization of Christianity. The story is all the 
 more wonderful because of the fact that the 
 Indians of California, when found by the Fran- 
 ciscans in the year 1769, were really very 
 degraded physical beings, and mentally apathetic 
 human creatures. A more hopeless task was 
 never attempted by the agencies of religion and 
 civilization, yet the results were astounding 
 when one bears in mind the difference of lan- 
 guage which had to be overcome — a different 
 dialect in almost every village. Most of these 
 Indians had never learned to clothe themselves. 
 
 [11] 
 
THE HISTORICAL BACKGROUND 
 
 Their physical and moral habits were filthy, and 
 they were saved from annihilation only by the 
 kindness of the climate in which they lived. 
 From this pathetic material the Franciscan 
 monks made semi-civilized men and women. 
 They taught them to sing, to play upon musical 
 instruments, to carve in wood and paint pictures. 
 The most important result of this relatively 
 short period of instruction was the making of 
 the Indian into an agriculturalist of more settled 
 habits. 
 
 These diversified activities were the purely 
 secondary gifts of these brown-robed Fran- 
 ciscans, who were first of all the able agents of 
 the Spanish crown, assisting in political plans of 
 territorial expansion, and who were looked upon 
 by the government in the many other things 
 they did along the line of domestic arts and 
 sciences as means to the end. The earliest days 
 of the Franciscan Fathers in California were the 
 great days of the Catholic church in Europe, and 
 whatever was done for the colonial expansion 
 of the Spanish possessions was done also in the 
 name of the Church. The spread of political 
 influence was, however, the moving force, and 
 to convert the heathen, like everything else, 
 must be looked upon as incidental. Never- 
 theless the activities of the soldiers, colonists, 
 and padres in the early days constitute the 
 historical background of the west coast of this 
 great continent and form also the exclusive basis 
 and romantic foundation of the San Diego 
 Exposition. 
 
 The entire display reflects the Spanish Colo- 
 nial style, of which the Missions of Fray Juni- 
 
 [12] 
 
THE PUENTE CABRILLO FROM BELOW 
 
THE HISTORICAL BACKGROUND 
 
 pero Serra were one type. The San Diego 
 Exposition, open all the year around, thanks to 
 a climate that is practically unchanging, has a 
 great amount of the practical, but it is rich in 
 romance and historical association. 
 
 [13] 
 
THE GENEALOGY OF 
 THE ARCHITECTURE 
 
 THE architectural style of the San Diego 
 Exposition is generally referred to as either 
 the Mission Style or the Spanish-Mexican. To 
 most people the meaning of that so-called 
 "Mission Style" is very vague, and I do not 
 believe that much systematic education of our 
 people has ever been attempted to set right in 
 their minds the true meaning of this much 
 abused term. To a great many it is an original 
 product of California, absolutely detached from 
 any style of the past — to others a recent pro- 
 duction of the Stickley Brothers furniture plant. 
 On closer investigation it presents, however, such 
 fascinating genealogy that I am tempted to lose 
 myself in it for a while, because I believe it will 
 very materially assist in an aesthetic appre- 
 ciation of the Exposition ensemble, and also 
 lead back into the realms of the Spanish-Mexican 
 style, of which it is an offshoot. 
 
 It is not fair, in my estimation, to use the 
 word "style" in connection with the architectural 
 efforts of the Spanish padres, since their work 
 was not the evolution of an original architectural 
 expression. First of all, these men were no 
 architects, nor even men of special artistic per- 
 ception, their efforts in building being directed 
 solely towards the erection of a shelter. These 
 structures were of profound simplicity in them- 
 
 [14] 
 
OVER THE PUENTE CABRILLO TOWARDS THE EXPOSITION 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 selves and curiously devoid of the heavy orna- 
 mentation of the parent style — the Spanish 
 Colonial of Mexico, from which they were 
 directly derived. This intimate connection with 
 a gorgeously decorative style may seem impos- 
 sible at first glance, since the most pronounced 
 characteristic of the Spanish Colonial style is a 
 luxurious ornateness, suggesting at times great 
 splendor, while the frugality of the Mission 
 style revives memories of the very earliest 
 architectural efforts of prehistoric times in its 
 restriction to simple constructive forms and 
 absolute lack of ornamentation. But this appar- 
 ent inconsistency can be explained only by the 
 fact that these monks were no architects and 
 that all they could do was to produce a very 
 feeble picture of the glory of the Spanish Colonial 
 style, with its rich background, of which we 
 shall hear more. These Missions are but a very 
 naive attempt, at best unpretentious and un- 
 affected. But it is this naivete — the lack of 
 knowledge of the truly artistic features of the 
 parent style — which is their saving grace. 
 
 The day will come, and I hope it is not too 
 far off, when we out here shall use money liber- 
 ally to restore to their old naive dignity these 
 memorials of one of the most romantic periods 
 in the history of California, if not of America. 
 I hope that the day of the California Mission 
 Restoration Committee, free from politics, with 
 sufficient money, and composed of the best 
 architectural talent in the land, may not be 
 postponed too long to rebuild more solidly than 
 ever these twenty-one centers of Christian civi- 
 lization. Situated, as they are, on salubrious 
 
 [IS] 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 elevated places, often overlooking the fertile 
 valleys leading into the back country, they 
 would become increasingly attractive and a 
 source of great wealth to the State. To travel 
 up and down the state and observe the spas- 
 modic attempts at often incorrect restoration is 
 only a mixed joy, and nothing less than a well- 
 organized attempt will ever insure the rebuilding 
 of these quaint and picturesque landmarks. 
 
 It would be so easy, technically speaking, 
 with our modern improved methods of concrete 
 construction, to set up again the crumbling 
 adobe walls with reasonable guarantee of their 
 permanency. The money spent in the two 
 California expositions would have gone a long 
 way in the realization of this project. No 
 complicated mosaics of problematical meaning 
 nor intricate glass windows need be revived, 
 because these buildings were singularly devoid 
 of the detail which makes Old World styles so 
 difficult of restoration. This simplicity was 
 probably not intentional, but rather the result 
 of enforced artistic economy, for lack of skilled 
 artisans and artists. However, here and there 
 an altar piece tells of vague recollections of the 
 boldness of the gorgeous Spanish Baroque deco- 
 ration which the artist carried into Mexico and 
 which we see so notably interpreted in the Serra 
 chapel of the California Building. 
 
 The Mission style is a simple, purely con- 
 structive expression of the ornate glories of the 
 Spanish colonial, but as far from the sumptu- 
 ousness of the original as a wooden toy horse is 
 from a real live animal. The barest construc- 
 tive features have been preserved, and the rest 
 
 [16] 
 
THE ENTRANCE TO THE CALIFORNIA QUADRANGLE 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 had to be omitted, by force of circumstances. 
 Even constructively, the height of the great 
 towers of the Mexican churches is nowhere vis- 
 ible in any of the Missions, because to build 
 high is possible only when engineering advice 
 is available, and engineers the padres were not. 
 Most of their towers did not survive the spas- 
 modic earthquakes of California. 
 
 Reaching backward to the great edifices of 
 the Spanish-Mexican period, one is astonished 
 at the wealth of variety of architectural influ- 
 ence which manifests itself in these buildings. 
 Imaginative in form, full of the most wonderful 
 detail, they revive in our minds the glories of 
 many great periods of the past. All the many 
 influences which were active at one time in 
 Spain and which stamped the indelible marks 
 of their art on that country are suggested — 
 particularly the Moorish-Arabic strain, which 
 left so many picturesque landmarks in Spain. 
 Back of these Mexican buildings is almost the 
 entire history of architecture, owing to very 
 peculiar conditions which prevailed in Europe 
 at the time of their production. Baroque, 
 that florid and sometimes degenerate expression 
 of the revival of the classic Greek and Roman 
 architecture, was at its height in Europe during 
 the great days of the Spanish world empire, and 
 in the search for the decorative material in 
 which it abounds it made use, particularly in 
 Spain, of all the many decorative features which 
 it could draw upon in Europe as well as in the 
 Orient. The Byzantine influence, simplified in 
 the great St. Sophia of Constantinople, is often 
 manifest. Built under the European Justinian, 
 
 [17] 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 during the sixth century, originally as a place of 
 Christian worship, this great Byzantine temple, 
 still one of the chief wonders of the world, has 
 served to inspire many of the Spanish-Mexican 
 builders. Its really simple form of construction, 
 consisting of a great central dome resting on 
 four mighty arches, has found its way into the 
 fundamental form of the California State Build- 
 ing. Even that peculiar indefinable creation, 
 St. Mark's in Venice, has left its impression 
 upon the architecture of Mexico. 
 
 Overrun by the Moors in the eighth century^ 
 Spain suffered the introduction of an Oriental 
 note in its European architecture which gave it 
 a character unique among the nations of Europe. 
 So firm was the hold of these invading Moors 
 that they long controlled the artistic civilization 
 of Spain. Establishing capitals or seats of 
 government at convenient places, their most 
 formidable creation was the fortified palace at 
 Granada. Eventually, in 1492, by the capture 
 of this stronghold the Spanish regained posses- 
 sion of their land, destroying Moorish rule but 
 not Moorish art. The praying towers the 
 Moors built with their mosques were the chief 
 charm of their imaginative architecture, and the 
 Giralda at Seville is recognized as one of the 
 great towers of the continent. Many towers 
 were built in Spain and Mexico, finally culmi- 
 nating for us in San Diego in that successful 
 emphasis of the Exposition in the tower of the 
 California Building. The colored tile so typical 
 of the Spanish colonial is traceable to the Moors, 
 who were fond of the liberal use of this highly 
 decorative material. Another typical note of 
 
 [18] 
 

 THE FAgADE Of THE CALIFORNIA BUILDING 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 Arabic work was their great simple expanses of 
 plain wall surfaces, broken only here and there, 
 as need demanded, but always most pictur- 
 esquely emphasized by windows, great and 
 small. The mosques in Algiers show these 
 characteristics very plainly. There is no end to 
 Moorish influence. Attention should be called 
 to the fine carved doors of the California Build- 
 ing. The Moors were very skillful in this handi- 
 craft, and the character of their work has been 
 given to this interesting door. Again, the clever 
 use of water in picturesque bits in connection 
 with their architecture was another charming 
 asset. The pool in front of the Botanical Build- 
 ing carries out this unusual detail, as we shall 
 later see, with striking results. 
 
 At the time of the conquest of the Moors, at 
 the end of the fifteenth century, the Renaissance 
 had blossomed into full bloom in Italy and its 
 influence was being felt throughout Europe. 
 The Gothic influence, never very strong in the 
 south of Europe, found an expression in Spain 
 in that luxurious style called the Flamboyant. 
 The Gateway at Valladolid is a good example 
 of it. It was only too natural that when the 
 Spanish revived building operations in New 
 Spain, at the beginning of the sixteenth century, 
 their work should follow the newly felt Renais- 
 sance, retaining, however, much of the Moorish 
 and Gothic. This combination, beautiful in the 
 extreme, has been caUed the "Plateresque,'' that 
 is, the Silversmith's, on account of its lacy 
 qualities. It prevailed until the accession of 
 Philip the Second, in the middle of the sixteenth 
 century, and cropped out occasionally after- 
 
 [19] 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 wards. One of the most beautiful buildings in 
 this delicately membered style is the Hospital 
 of Santa Cruz at Toledo — a rare balancing of 
 proportion and graceful detail. This we see 
 recalled in the Foreign Arts Building. At this 
 time magnificent churches were being built in 
 Mexico, very much in keeping with the Plater- 
 esque. In a measure the tower of the California 
 Cathedral recalls somewhat the fine towers of 
 the Cathedral at Morelia, Mexico, built in this 
 style. Another striking example of the early 
 Spanish Renaissance we meet with in the window 
 of the Prado Facade of the Science and Educa- 
 tion Building. The detail of the windows is 
 taken, though somewhat changed, from the 
 tower of the cathedral at Murcia, and it shows 
 how much simpler the Renaissance became as 
 it developed in Spain. 
 
 The corner tower of the Home Economy 
 Building comes a little later in the sequence of 
 the Spanish Renaissance. It was adapted from 
 the Tower of the Casa de Monterey at Sala- 
 manca, Spain. This building may be called a 
 good example of the middle period of the Spanish 
 Renaissance, celebrated for the activities in 
 Spain of the architect Churriguera, who intro- 
 duced a personal note into the style which has 
 become recognized as the Churrigueresque. It 
 is analogous to the Baroque in France and Italy. 
 If analyzed closely from an architectural point 
 of view, it often seems bad and degenerate, like 
 other Baroque, but one cannot deny its force 
 and sometimes great beauty of form and pro- 
 portion. The Churrigueresque prevailed during 
 the great building periods in Mexico during the 
 
 [20] 
 
ALONG THE PRADO 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 seventeenth and eighteenth centuries. It was 
 often combined with Moorish and native Mexi- 
 can details, assuming a most unique character. 
 The Sanctuary, a part of the Cathedral in the 
 City of Mexico, is generally considered the lead- 
 ing example. Turning to the Exposition we 
 have a tame form of this style in the north 
 frontispiece of the Indian Arts Building, on the 
 Prado. Another more elaborate example may 
 be seen in the frontispiece of the Science and 
 Education Building, on the Plaza de Panama. 
 The south front of the Varied Industries Build- 
 ing, typical of the style in its most ornamented 
 form, recalls the patio of St. Augustine at 
 Queretaro, Mexico, built in the middle of the 
 eighteenth century, one of the latest examples 
 and one of the most ornate and undisciplined. 
 Again we recognize the ornate chapel fagade on 
 the adjoining building — the Food Products — 
 as another of the many reflections of this style, 
 remarkable for its variety, boldness, and disre- 
 gard for conservatism. 
 
 It would be interesting merely to outline, even, 
 the influence of the Franciscan order upon the 
 architecture of Italy, Spain, and Mexico, and 
 finally upon the American Southwest. Space 
 will not permit this pleasure, and it will be 
 sufficient to say that the influence of these quiet 
 preachers was toward simplicity and stability. 
 In Mexico one of the most important examples 
 of what might be called the Franciscan style is 
 the Sanctuario de Guadalajara, a building which 
 strongly influenced the Franciscan Missions in 
 California. The simple east front of the Indian 
 Arts Building is in the same style, even to the 
 
 [21] 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 dissimilar treatment of the bell- tower. The 
 tower at the west side of this building belongs 
 to the same period. Growing out of this style, 
 then, we have the California Missions, with 
 which most Californians are familiar. 
 
 Bearing in mind all this rich store of historical 
 reminiscence, one must claim for the San Diego 
 Exposition that it is unlike any that preceded 
 it — a claim which becomes justified when one 
 considers that it marks a new departure in the 
 planning of fairs. All past Expositions, like 
 those held in Chicago in 1893, recreated a type 
 which had been used universally and which goes 
 back to the first successful great Exposition, that 
 of 1889 at Paris. The plan of this Paris Expo- 
 sition consisted largely of a symmetrical and 
 monumental arrangement of buildings. How- 
 ever, the Chicago fair gave American architects 
 a new impetus by showing the effects of long 
 rows of orderly colonnades, of large open spaces, 
 and in general by a demonstration of the monu- 
 mental that was quite new in this country. The 
 general scheme at Chicago developed a succes- 
 sion of similarly planned fairs, of which the 
 Pan-American at Buffalo and that at St. Louis 
 were the most characteristic. All of these Expo- 
 sitions were reminiscent of the prize problems 
 of the Beaux Arts School at Paris, and one can- 
 not help coming to the conclusion that there was 
 much of the paper design, of T-square and 
 triangle character, about these buildings, in 
 comparison with such uniquely shaped aggre- 
 gates as at San Diego. The influence of these 
 great past Expositions becomes immediately 
 evident in the grouping of our public buildings 
 
 [22] 
 
WINDOW DETAIL OF THE CALIFORNIA BUILDING 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 in and around a central public square. They 
 laid the foundation for our first attempts in 
 municipal city planning, as expressed by the 
 Civic Center. The note of intimacy, the proper 
 relation to the immediate surroundings, is not 
 always in evidence in these monumental arrange- 
 ments, and a comparison with the city picture 
 of the San Diego Exposition will disclose the 
 more intimate side of city planning, the b3rways 
 with their fountains, the glimpses of secluded 
 gardens through the arches of colonnades. The 
 Chicago, St. Louis, and Buffalo Expositions 
 were a glorification of the monumental in city 
 planning, while at San Diego is the apotheosis 
 of all those elements of charm and variety that 
 we associate with the cities of Spain and Italy. 
 Here is the varied symmetry of the Latin cities, 
 in the glorification of the romantic in city 
 planning. 
 
 Architecturally the style of our fairs in the 
 past had no native significance. Our own 
 American architectural inheritance had not 
 heretofore yielded anything when expositions 
 were built. The Colonial style is too much 
 devoid of the monumental, and besides, its quiet 
 soberness does not contain that festive element 
 one looks for on occasions of rejoicing. So we 
 had to turn to strictly European sources, and 
 that meant often to French books. When the 
 Panama-California Exposition was first under 
 consideration, it was only too natural that 
 popular feeling should have suggested the Mis- 
 sions of California. But the opinion of the 
 Advising Architect suggested that, in spite of 
 its undeniable charms, this style was entirely 
 
 [23] 
 
THE GENEALOGY OF THE ARCHITECTURE 
 
 too limited in its decorative resources. The 
 Spanish-Colonial style of Mexico, of which our 
 Missions are an outgrowth, was then decided 
 upon, not only because of its historical signi- 
 ficance in California, but because it is most 
 suited to the climate, and also has all the gaiety 
 and color so essential to the success of a fair. 
 This question of appropriateness in the choice 
 of an architectural style for an exposition has 
 seldom been taken into account before, either 
 in our own country or in Europe. There have 
 been some incidental exceptions at some of our 
 modern Italian expositions, but nowhere has 
 a historical style been so consistently main- 
 tained as at San Diego by the use of the Spanish- 
 Mexican style of architecture — the most glo- 
 rious temperamental architectural expression to 
 be found on the American continent. 
 
 [24] 
 
THE BUILDINGS 
 
 AN investigation of the artistic features of 
 the Exposition will naturally begin with 
 the great bridge — the Puente Cabrillo. How- 
 ever, before indulging in any enjoyment of this 
 structure, one naturally at this point becomes 
 interested in the plan of the Exposition, antici- 
 pating the opportunity of seeing the entire lay- 
 out later on from the bold perspective of the 
 tower. Expositions in recent years have become 
 so readily the experimenting media of the imagi- 
 native city planner, that here in San Diego one 
 has the feeling of a successfully attempted dem- 
 onstration of a well-planned city. It is this fea- 
 ture which has given modern expositions a value 
 which they did not possess in the old days and 
 which sometimes atones in a measure for the 
 lack of permanent features most expositions un- 
 fortunately show. 
 
 The arrangement at San Diego is not sym- 
 metrical, owing to the undulating nature of the 
 country on which the fair is built, a site which 
 offers certain physical points of emphasis. So 
 we find that beginning with a straight east-west 
 axis, in which the great Cabrillo Bridge partici- 
 pates, we have about in the middle a traversing 
 minor axis of different lateral length on either 
 side. It is very interesting, and almost neces- 
 sary to one's orientation, to fix that plan in one's 
 
 [25] 
 
THE BUILDINGS 
 
 mind. The general character of the ensemble is 
 so compact and well defined that a digest of the 
 Exposition plan does not offer half the usual 
 difficulties. The Exposition has two entrances, 
 east and west. Originally the east entrance was 
 intended to be the main entrance, owing to its 
 superior transportation facilities, connecting it 
 directly with the city over a very interesting 
 tree-lined route. But now this main entrance, 
 curiously enough, has become the main exit, and 
 the great Cabrillo Bridge, over the canon by the 
 same name, has become the well-established 
 principal entrance of the Exposition. The 
 reasons for this change are purely aesthetic, since 
 nobody cares to be introduced into the circle of 
 a charming family by way of the kitchen and 
 utility end of the house. On the east are all the 
 utility features — Fire House, Hospital, Res- 
 taurant — while on the west an ideal and unob- 
 structed approach invites a generous and 
 comprehensive view of the great Spanish walled 
 city on the hills. It shows how aesthetic reasons 
 will sometimes conquer practical ones, even in 
 a country universally defamed as a land of sober 
 realists. 
 
 The sumptuous proportions, the proud dignity 
 of the bridge, encourage great expectations, and 
 one is not disappointed. While admiration is 
 aroused for the engineering skill which made this 
 bridge possible, the thought persists that the 
 real architect of this colossal concrete viaduct 
 was a much higher power than the official engi- 
 neer. The one who raised the mountains, who 
 dictates the course of streams, and who governs 
 the cosmic all — he it was who separated the 
 
 [26] 
 
NIGHTSHADE GROWING ON THE ARCADE 
 
THE BUILDINGS 
 
 two ridges which are connected by this typica 
 piece of American concrete engineering. Its 
 most impressive feature, after all, is its size, 
 since neither engineer nor architect nor even 
 decorative designer ever endowed this bridge 
 with anything but its mere constructive charm. 
 This ought to be entirely enough, and any 
 aesthetic appeal made by mere constructive form 
 is far more lasting and impressive than the 
 superimposed beauty of architectural ornamen- 
 tation. However, in the case of the Puente 
 Cabrillo it does not seem quite enough, particu- 
 larly after retracing one's steps from the 
 ornateness of the Exposition proper to which 
 the bridge leads. I feel the engineer should 
 have yielded his work to the architectural 
 designer, who might have enlivened the some- 
 what cold and untemperamental viaduct in more 
 than one way without disturbing its big feeling. 
 From below the top seems unfinished — no 
 evidence of a raihng or perforation of the edge 
 by means of a balustrade, nothing to indicate 
 the scale of the many human beings who traverse 
 daily this seven-arched span. I am glad for the 
 seven arches. Nothing is more disturbing than 
 the definiteness of even numbers as compared 
 with the suggestion of indefiniteness which comes 
 with uneven numbers. Seven looks like more 
 than just one more than six, and in the higher 
 uneven numbers this is even more indicated. 
 This may have something to do with the fact 
 that things in even numbers we count in pairs, 
 but the seven arches of the Puente Cabrillo we 
 count one by one. How one span might have 
 looked is worth thinking about. It would have 
 
 [27] 
 
THE BUILDINGS 
 
 been even more impressive as an engineering 
 feature and besides have given less the feehng, 
 particularly from a distance, that the bridge 
 might be a dam. It is an interesting feature of 
 this bridge that it encourages one to mental 
 speculation as to what might be the result if 
 this, that, or the other thing might be done with 
 it. From below I longed for a few hundred feet 
 of open balustrade to interrupt the almost 
 monotonous straight edge of the top, which, if 
 I had not known its purpose, I would have taken 
 for an aqueduct. While I respect constructive 
 charm above everything else, a trace of orna- 
 ment, even of color, would have gone a long way 
 towards tying bridge and exposition proper 
 together. It is a little naked, and only the 
 warm sun of San Diego will save it from 
 monotony with the fine play of strong cast 
 shadows within its arches. 
 
 The slow approach over the bridge, owing to 
 its great length of one thousand feet, is helpful 
 in getting one's mind adjusted to the peculiar 
 charm of the first great group of buildings one 
 meets. One enjoys also the plain buttressed 
 wall, rising from the slopes of the hills. The 
 effect is that of a fortified mediaeval town. 
 However, the gateway to the inner parts is not 
 guarded by huge iron doors and halberdiers, and 
 one saunters along unchallenged into the Quad- 
 rangle. Here a few remarks should be made 
 about the main gate, with its typical architec- 
 ture. The crest of San Diego in the middle and 
 the spandrel figures give it more than usual 
 interest. The treatment of this main entrance 
 is most interesting, with its passageway travers- 
 
 [28] 
 
EAST BALCONY IN THE REFECTORY OF THE CALIFORNIA BUILDING 
 
THE BUILDINGS 
 
 ing the arch, and the charming note of the 
 window. The administration building, Hke a 
 guardhouse, is to the left, in front of the gate. 
 Set in a mass of trees and shrubs, with ornate 
 emphasis upon the doorway, it has the plain 
 character of the typical Spanish-Moorish resi- 
 dence. The windows, in contrast to the door- 
 way, seem just as if cut out with a knife. The 
 main door is enlivened by well-scaled ornamen- 
 tation, full of variety of scrolls, arabesques, and 
 dolphins. But one does not want to linger out- 
 side — the great dome and tower are too strong 
 in one's mind, since in the approach one con- 
 tinually enjoyed a full view of it, and one feels 
 its near presence with overwhelming force. 
 
 Passing through the main gate and under the 
 brown beams of the traversing corridor, one 
 stands captivated by the great beauty of the 
 California Building. When I saw it first I did 
 not care to know of its purpose. I was spell- 
 bound by the historical atmosphere it imme- 
 diately created, and by the feeling that here was 
 something immensely successful in every way. 
 I felt the excellence of the structure, which was 
 so well suggested from a distance by reason of 
 its wonderful outline, and which is well sustained 
 even in the smallest structural detail. One feels 
 that technical excellence could not very well be 
 carried much further, and after a study of the 
 remainder of the Exposition, one cannot help 
 feeling that this great cathedral is the piece de 
 resistance of the Exposition. It is immensely 
 gratifying to come to that conclusion, for two 
 reasons. First, it is the most conspicuous unit 
 of the Exposition from any point of view, and 
 
 [29] 
 
THE BUILDINGS 
 
 if the first impression counts for anything, the 
 effect of the CaKfornia Building upon the visitor 
 in his further wanderings will be helpful. More- 
 over, the Cathedral and the Tower, in fact the 
 entire group of buildings forming what is called 
 the California Quadrangle, are of permanent 
 material, built of concrete over steel frames. It 
 is thoroughly pleasing to feel that here is a most 
 successful historical monument, destined by 
 reason of its enduring worth and material to 
 inspire generations to come. It seems like blas- 
 phemy to call it anything but a cathedral, 
 because its character is purely ecclesiastical and 
 devoid of any suggestion of worldly use, even if 
 one knows that a very remarkable display of 
 archaeological specimens, dealing with the archi- 
 tecture of South and Central America, will give 
 way temporarily this year to the alluring charms 
 of an exhibition of French industrial and artistic 
 accomplishments. How a display of Poiret 
 gowns and bottled perfumes will adjust them- 
 selves inside I do not know, and I care less — a 
 cathedral it is to me, full of romantic historical 
 notes. 
 
 The most conspicuous feature of the whole 
 building, after one has absorbed the gay beauty 
 of the tiled dome and the rhythmic charm of that 
 tapering tower, is the decorative emphasis of the 
 doorway. It is an amazing piece of architec- 
 tural modelling, convincing one at once of the 
 profound knowledge of the creator of this monu- 
 ment, Bertram Grosvenor Goodhue. Mr. Good- 
 hue had a blessed day when he designed that 
 doorway, and another good day it was when he 
 selected the Piccirillis to model the ornamental 
 
 [30] 
 
THE BUILDINGS 
 
 and figural detail. The immediate impression 
 one has is of picturesqueness and impressiveness 
 aKke. While one has the feeling that there is 
 much to study on dome as well as on tower, one 
 is spellbound by the luxurious richness of the 
 ornamentation of the frontispiece, which has a 
 most unusual quality of superb technical execu- 
 tion, so rarely found in this country. The 
 period ornamentation so often met with in repro- 
 duction in this country is generally unenjoyable 
 on account of its poor quality of workmanship ; 
 it is apparently done with little understanding 
 of the origin of the ornament motives or their 
 function. This is particularly so in the case of 
 the purely decorative styles, like Rococo or 
 Baroque, where looseness often becomes undis- 
 ciplined and coarse and devoid of all regard for 
 the underlying constructive forms. It was 
 sometimes that way in Europe during the 
 decadence of these styles, but here in America 
 it has been entirely too common whenever a 
 revival of a historic style has been attempted. 
 The decorative emphasis of the main entrance 
 of the California Building is a marvel of work- 
 manship and one rejoices over and over at the 
 knowledge of the permanence of so fine and 
 historical a document — one of the very finest 
 in the far west. It is without doubt the finest 
 single piece of architectural modelling on the 
 ground. Full of characteristic detail, it becomes 
 particularly interesting by reason of the senti- 
 mental interest which attaches to the many 
 figures and busts which have been introduced 
 into its rich mass of mouldings, ornament, and 
 scrolls. There is Padre Junipero Serra, occupy- 
 
 [31] 
 
THE BUILDINGS 
 
 ing the place of honor at the top; at each side 
 below him are two explorers, Don Sebastian 
 Viszcaino to the left and Juan Rodriguez Cabrillo 
 to the right; with the busts of their patrons, 
 Philip III and the Emperor Charles V of Spain, 
 above. Below Cabrillo is the first Governor of 
 Southern California, and below Viszcaino is 
 George Vancouver, the English navigator — the 
 first non-Spanish explorer to visit San Diego 
 Bay. In the lowest niches, occupying naturally 
 the humble position appropriate to their religious 
 profession, are the statues of Padre Antonio de 
 la Ascension, the Carmelite and historian who 
 accompanied Vizcaino, and Padre Luis Jayme, 
 the Franciscan and follower of Serra, the martyr 
 of the mission, who suffered death at the hands 
 of the Indians at the destruction of the San 
 Diego Mission. All of these figures are mod- 
 elled with fine regard for their relation to the 
 surrounding ornament, and their flowing capes 
 and draperies echo the animated character of 
 the ornament. 
 
 The fine oaken door opening into the church 
 has all the character of the richly ornate frontis- 
 piece. Over the doorway are the arms of the 
 State of California and elsewhere are those of 
 Spain, Mexico and the United States. How- 
 ever, a group of candelabra directly in front, at 
 the head of the steps, has all the distressing 
 awkwardness of most examples of the first 
 evidence of municipal art in small country 
 communities, the Main-street electrolier. I 
 hope that they are not permanent, and easily 
 removed. They are superfluous in the other- 
 wise well-lighted quadrangle, and entirely out of 
 
 [32] 
 
GLIMPSE OF THE MONTEZUMA GARDEN — THE TOWER OF THE INDIAN 
 ARTS BUILDING IN THE DISTANCE 
 
THE BUILDINGS 
 
 keeping with either simple Mission or Spanish- 
 Mexican style. They are modern American, 
 and that is all one can say about them. 
 
 There is much charm in the great expanse of 
 the huge octagonal dome and its pyramidal 
 lantern, as well as in three minor domes at the 
 other corners of the building. The graceful 
 lantern is worthy to be the work of Manuel 
 Tolsa, who designed and executed many a beau- 
 tiful piece of art work in Mexico. The glazed 
 colored tiles of the dome sparkle in the sunlight 
 and give a note of the joyousness of southern 
 climes to the otherwise austere building. They 
 cover the outer surface of the dome solidly, 
 forming the simple geometric patterns one finds 
 in many similar domes throughout Mexico. 
 Speaking of the patterns, the Great Star in the 
 center on all eight sides seems a little violent. 
 
 Around the drum of the dome we have a 
 highly appropriate Latin inscription. Trans- 
 lated, it runs like this: A land of wheat 
 
 AND BARLEY, AND VINES AND FIG-TREES AND 
 POMEGRANATES, A LAND OF OIL, OLIVES, AND 
 
 HONEY. Is THAT NOT California.? And typical 
 California it is if one ascends the great tower to 
 enjoy the view of the land below. The graceful, 
 tapering tower or campanile, reaching two hun- 
 dred feet up into the blue sky, resembles any 
 number of Spanish Renaissance belfries, such as 
 that of Cordova or the celebrated Giralda at 
 Seville or the tower at Chihuahua in Mexico, for 
 instance. Like any great work of art it is both 
 effective from a distance and full of interesting 
 detail at close range. It can be seen for miles 
 around San Diego, and it is the dominant note 
 
 [33] 
 
THE BUILDINGS 
 
 of the Exposition. It is highly interesting to 
 bring the tower into visual relation with the 
 many other buildings of related style on a walk 
 through the Exposition grounds. The tower is 
 always a source of pleasure, either from without 
 or as a vantage-point to get a view of a remark- 
 able topographical spectacle which presents itself 
 to the eye from the four balconies of its upper- 
 most stories. It is one of the lasting impressions 
 one carries away. 
 
 Towards the south one is, in order to get 
 one's bearings, unconsciously attracted towards 
 the city of San Diego, feeling its way cautiously 
 along the vast expanse of the San Diego Bay. 
 It has the typical expression of a spontaneously 
 grown city, with the characteristic emphasis put 
 upon the center by a number of tall buildings, 
 surrounded by the tapering array of minor 
 dwellings, ultimately losing themselves in open 
 spaces. There is a peculiarly different note 
 about San Diego, with its freedom from excessive 
 industrial activity. It is as if the city had been 
 chosen with regard for the most manifold topo- 
 graphical variation to be found, all within a 
 close range. The bay, a well-protected laguna, 
 offers such a well-sheltered haven of refuge that 
 one has difficulty in discovering its union with 
 the blue waters of the Pacific, directly under 
 the protecting bluffs of Point Loma, towards the 
 southwest. Point Loma reaches out like a strong 
 arm into the open sea to shield the city from the 
 nagging of the prevailing summer winds. Oppo- 
 site San Diego on the small, protective tongue of 
 land which, together with the mainland forms 
 the harbor, the quaint architectural features of 
 
 [34] 
 
WEST BALCONY IN THE REFECTORY OF THE CALIFORNIA BUILDING 
 
THE BUILDINGS 
 
 Coronado loom up, emphasizing the center of 
 another small community. One recalls the 
 pleasant warmth of its gentle waves, lapping at 
 the apparently interminable sand link, so poetic- 
 ally called the Silver Thread. It is a most 
 beautiful thread, a gently curving line of wonder- 
 ful rhythmic grace. No violent action of the 
 ocean formed that line. It has all the quality 
 of slow and careful growth such as could have 
 been possible only under a clime free from the 
 stronger contrast of nature's activities. The 
 placid waters of the Pacific are not allowed to 
 continue uninterruptedly towards the horizon. 
 Away out in Mexican waters that boldly shaped 
 row of islands, the Coronado group, furnishes a 
 picture of great fascination. Corpus Christi 
 Island, towards the right, makes a particular 
 appeal, resting by itself in the suggestive out- 
 lines of the outstretched form of the Saviour. 
 One's gaze continues westward, passing over 
 North Island in the foreground, again over Point 
 Loma, often bathed in a cool haze sliding in 
 from the ocean. The tiny form of the old 
 Spanish lighthouse is barely perceptible under 
 the shifting cover of the sea mists. Further on 
 towards the west and up the coast, glimpses of 
 the ocean are afforded, until turning completely 
 towards the west one has the beginning of that 
 gradual change from the more rugged coast 
 towards the fertile lands which embrace San 
 Diego on three sides. 
 
 From the north balcony of the tower, the 
 typical, often much abused California picture 
 actually presents itself in all the charm of its 
 many contrasting elements. In the foreground 
 
 [35] 
 
THE BUILDINGS 
 
 plateaus and undulating lowlands, in their rich 
 culture of orange and lemon grove, extend 
 toward blue hills and the snow-capped moun- 
 tains beyond. The contrast of semi-tropical flora 
 directly at our feet, the horticultural wealth of 
 the immediate surroundings, together with the 
 flourishing fields of the citrus grower against this 
 range of mountains, is charming and romantic in 
 many ways. Out here in California we have 
 composed this picture so often on paper for the 
 benefit of the easterner, even when it necessi- 
 tated a wild leap of the imagination to accom- 
 plish the imagery. But here from the lofty 
 height of San Diego*s great cathedral tower on 
 a clear January day, it is a reality and a sight 
 not to be forgotten. There is a peculiar irregu- 
 larity in the contour of these mountains. They 
 have not the uniform round shape of the northern 
 mountains and hills, and they look as if they were 
 getting ready to lose their identity, approaching 
 the Mexican border on the east. Looking east, 
 the lands lessen into terrace forms, ultimately 
 showing a typical Mexican mesa, as flat as a 
 table. There is no suggestion in this monotonous 
 picture to remind one of the turbulency of our 
 southern neighbors, unless it is the faint sugges- 
 tion of that hybrid town of Tia Juana, where 
 Aunt Jane in her old days is leading a dissolute 
 life under the protection, or rather the blind 
 tolerance, of a lax and generous government. 
 There is much variety in this panoramic picture, 
 and casting quick glances to all sides one has 
 the feeling that here is a corner of the earth 
 where every topographical unit known to the 
 physical geographer exists, with the exception 
 [36] 
 
PATIO WITHIN THE SCIENCE AND EDUCATION BUILDING 
 
THE BUILDINGS 
 
 of 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 comparatively 
 short space rises from tilled and fertile lowlands 
 and oak-grown pastures into higher mountains, 
 with their snow covering in winter time. It is a 
 picture which contributes much toward the 
 uniqueness of the San Diego Exposition. 
 
 One leaves that tower with great regret, only 
 to become enchanted immediately on arriving 
 below, by the romance of the inviting cool 
 arcades which enclose the open court, the Plaza 
 de Cahfornia. Opposite the gorgeous fagade, 
 under the restful shadows of the roughly shaped 
 ceiling, the true spirit of the California Mission 
 is in evidence. In fact the three sides of the 
 square court adjoining the cathedral have more 
 decidedly the character of the simple buildings 
 of the Padres than of the accomplished and 
 skilled creation of the Spanish-Mexican church 
 architect. Sitting down to rest on one of the 
 benches under the arcade, one is struck by the 
 genuineness of historical architectural expression 
 in the typical construction of the roof. Built 
 of roughly hewn cedar logs, covered only with 
 widely spaced sheathing, the red tile covering 
 of the outside is allowed to get into play for the 
 effect on the inside as well. It is a very simple 
 and imaginative method of construction, rustic 
 and primitive, but constructively sound and 
 reassuring as to the general permanent character 
 of this group of buildings. Besides, this treat- 
 ment of the ceiling is most decorative, and in 
 accord with the floor, covered with large durable 
 
 [37] 
 
THE BUILDINGS 
 
 square burned clay tiles, showing wide mortar 
 bonds to overcome the uneven and interesting 
 irregularity of their form. It is a very intimate 
 picture and so full of historical connection that 
 the appearance of a padre in his brown Fran- 
 ciscan robe would hardly cause surprise. The 
 formal note of many clipped cypresses inside the 
 court in front of the piers of the arcade adds to 
 the picture that evidence of human care that 
 one always welcomes in any architiectural picture. 
 
 But many doors east and west cause one's 
 curiosity to press on farther inside. The one 
 on the east side in the south corridor is closed ; 
 the somewhat mystic darkness of the door on 
 the west affords a picture of an interior. At 
 first the low light of the entrance reveals little, 
 but gradually a great staircase, a magnificent 
 handwrought Renaissance lantern, and away up 
 a very finely coffered ceiling become discernible. 
 The lantern hanging down in this vestibule may 
 be old or it may be a modern replica, but in its 
 relation to the architecture of its immediate 
 surroundings, it makes a superb effect. It 
 naturally leads one up to the ceiling, which is 
 equally successful in preserving a note of his- 
 torical age, although of recent construction. 
 This ceiling will too often be overlooked, but it 
 is deserving of more than just a passing glance. 
 A small open door on this lower floor, leading 
 out on a closed balcony toward the south, reveals 
 the intimate atmosphere of the interior of a 
 small chapel. 
 
 On descending to the floor below and entering 
 through a finely grilled door, one is inside a 
 small chapel, with all the typical characteristics 
 
 [38] 
 
THE ALTAR IN THE SERRA CHAPEL 
 
THE BUILDINGS 
 
 of a true Mission interior. It is dedicated 
 especially to the memory of Father Serra, whose 
 name it bears. One is affected again by the 
 truly religious sentiment which pervades this 
 little chapel, so that one forgets all about the 
 close proximity of everyday things such as the 
 sometimes noisy joys of exposition visitors. It 
 casts a spell which revives the memories of the 
 days gone by — the days when San Diego was 
 the extreme northern outpost of Spanish-Mexican 
 civilization and not yet thought of as the most 
 remote southwestern corner of a great modern 
 civilization. There are few things in this chapel, 
 but they all seem genuine and impressive. The 
 great altar on the southwest, facing the entrance, 
 is the most important feature of the dimly 
 lighted hall. Here naturally religious sentiment 
 and ceremony are focussed. It was in such 
 spots that the fathers sometimes created out of 
 the small store of their architectural knowledge 
 these highly decorated altars of which this is a 
 typical example. Done in enduring material, it 
 is probably the only one of its type in California. 
 Like the great frontispiece of the California 
 Cathedral Building, the altar is full of sculptured 
 figures of religious historical interest. The most 
 prominent figure in the middle is that of Our 
 Lady and Child, occupying the place of honor 
 and importance. At the left stands, almost life- 
 size, the sombre figure of St. Francis Xavier, 
 patron of the Jesuits, introduced to commemo- 
 rate the Missions in Arizona and their founders, 
 and at the right is the statue of an unknown 
 secular priest and saint, to commemorate the 
 work of the church in general in California. 
 
 [39] 
 
THE BUILDINGS 
 
 The two heads above are of Santa Isabel 
 (St. EUzabeth) of Hungary, identified by the 
 crown, and on the other side, Santa Clara of 
 Assisi, founder of the second Order of Fran- 
 ciscans and friend of San Francisco. The two 
 bishop's heads below are those of San Buena- 
 ventura, Bishop of Abano, and San Luis, Bishop 
 of Tolosa (St. Louis of Toulouse), both Fran- 
 ciscans and patrons of California Missions. At 
 the right of the altar hangs a bas relief of San 
 Francisco, showing the stigmata, giving an 
 additional note of historical religious interest 
 which is further carried on on the west wall by 
 an ancient wooden statue, of Spanish origin, of 
 San Antonio of Padua. 
 
 This does not complete, however, the simple 
 furnishings of this intimate chapel. There are 
 hung about old musty paintings, in flyspecked 
 frames, of religious subjects, an antique "Ecce 
 Homo" unearthed in Old Mexico being one of 
 the most typical. The old pulpit to the left 
 indicates practical use, and so does a very fine 
 ironwrought Bible stand, in front of the altar. 
 The Bible reposing on it is old, very old, but on 
 examination discloses itself as a German and not 
 a Spanish book. 
 
 On our way out, facing the wall opposite the 
 altar, the little gallery approached from an 
 opening in the middle story becomes of interest 
 again, not only for its quaint wooden construc- 
 tion but also for the inscription on its supporting 
 main beam. It runs: Scte Francisce. Pater 
 Seraphice. Missionum AUcb Calif ornicB Patrone. 
 Ora pro nobis; or. Saint Francis, Seraphic 
 Father, Father of the Missions of Upper 
 
 [40] 
 
THE COMMERCE AND INDUSTRIES BUILDING- 
 THE FOREGROUND 
 
 ■THE LAGUNA IN 
 
THE BUILDINGS 
 
 California, Pray for Us. So it reads, and 
 with this sentiment we enter the hall again and 
 ascend the stairway to invade a long hall, some- 
 what like a refectory, given over to a display 
 of a large collection of modern paintings. 
 
 The first feeling one has in entering this well- 
 proportioned and well-lighted hall is of being 
 rudely awakened from a pleasant dream. How 
 did these pictures get into this atmosphere of 
 historic sentiment.'' One is at first resentful at 
 the daring intrusion of these ultra-moderns, so 
 out of sympathy with their surroundings. Their 
 disrespectful attitude towards the past has no 
 connection whatever with the period character 
 of the Exposition or the California Quadrangle 
 in particular. Without investigating the raison 
 d'etre of this amazing collection of pictures, one 
 must in all fairness admit their individual worth 
 and interest, despite their antidotal eff^ect in 
 bringing one back to the modern world after a 
 consistently maintained historical journey. As 
 modern pictures pure and simple, they are 
 endowed with all that quality of expressive 
 actuality so dominant a note in present day art. 
 There is Childe Hassam, with a capital deco- 
 rative "Moonrise at Sunset." Very delicate in 
 color and subtle in technical execution, it is one 
 of the finest examples of Hassam's art we have 
 had out here in the west for some time. Robert 
 Henri has a lovely little girl portrait, and some 
 of his recent western studies of Indians. Guy 
 Pene Du Bois, Carl Springhorn, and William 
 Glackens all maintain modern tendencies in 
 their work with individual freedom and some- 
 times great daring. Space does not permit any 
 
 [41] 
 
THE BUILDINGS 
 
 more than merely to give the names of the others 
 participating in this very remarkable little 
 exhibition. There is George Luks, with some 
 "Cuban Dancers;" Joseph Henry Sharp with a 
 very literary subject, "The Stoic," and other 
 Indian themes; Maurice Prendergast*s very 
 colorful "Landscape with Figures" and a very 
 decorative frieze of " Playing Children ;" Ernest 
 Lawson with some candidly observed landscapes, 
 and last but not least those two related spirits, 
 John Sloan and George Bellows. Bellows* two 
 great New York canvases are full of the vigor of 
 his brush, intimately observed and simply and 
 broadly rendered. Some day when age has 
 spread the harmonizing tone of amber over these 
 cool Bellows, they will rank as the great paint- 
 ings of early twentieth century American art. 
 After even a casual investigation one feels quite 
 consoled over the sudden departure from historic 
 sentiment to modern matter of fact painting and 
 the subsequent necessity of taking up again the 
 thread of older traditions. 
 
 It is in a way refreshing and stimulating to be 
 momentarily interrupted thus, and moreover a 
 visit to this gallery prepares one for the deci- 
 dedly modern note which prevails in the upstairs 
 quarters over the entire west side of the build- 
 ing. After some introspective moments in the 
 Serra chapel and much historic retrospect, I was 
 keyed up, having heard of the art gallery, to see 
 a vast number of dignified pictures in hand- 
 carved, gilded, or black frames, such as the few 
 in the chapel. My heart longed for endless dark 
 and unintelligible tabasco-sauce-colored paint- 
 ings of Church dignitaries. Conquerors, and 
 
 [42] 
 

 THE FOOD PRODUCTS BUILDING 
 
THE BUILDINGS 
 
 Saints, but I see now I was doomed to disap- 
 pointment, owing to the insurmountable handi- 
 cap of many years of conventional European 
 influences based on a holy respect for the past. 
 Besides, the modern note of the Women's Head- 
 quarters upstairs might have been too immediate 
 in its very pronounced gaiety of color. These 
 many connected rooms with their great number 
 of windows have a most distinctive note, which 
 in a large measure is due to a very daring but 
 most successful color scheme of black and per- 
 simmon color. The effect, enhanced and en- 
 riched here and there in many added motives 
 like ripe pumpkin or French marigold, is striking 
 but not devoid of poise. These rooms, with 
 their atmosphere of a most generous, sincere 
 California hospitality, leave pleasant memories 
 even in the mind of the casual tourist who in 
 "doing" the Exposition hastily passed through 
 in his search for other impressions. In the late 
 afternoon the open balcony towards the west 
 affords the pleasures of the spectacular California 
 sunsets which are enacted over the bold forms 
 of Point Loma. One would almost think that 
 so great a variety of treatment of the interior 
 would disrupt that feeling of unity, of oneness, 
 that is so immensely helpful in preserving the 
 desirable repose of an exposition building. But 
 on reflection one welcomes that note of new life 
 in the art gallery and upstairs as refreshing, 
 stimulating, and invigorating. One leaves the 
 building with a feeling of zest for further explo- 
 rations, and on arriving again outside, out of the 
 cool shadows of the arcades into the warmth of 
 a California sun, the apparently endless straight 
 
 [43] 
 
THE BUILDINGS 
 
 line of the Prado, the central avenue, has no 
 terrors. 
 
 We have so far penetrated only into the shel- 
 tering quiet of the Plaza de California, the first 
 but smallest square in the Exposition picture. 
 On the east, continuing the axis laid down by 
 the great bridge, the main avenue gently rises 
 as the Prado between two stately buildings, 
 Science and Education, and Indian Arts, towards 
 the center of all Exposition activities, the great 
 Plaza de Panama. Here everybody pauses 
 again and sits down to rest, to adjust the mind 
 to the new note of the traversing secondary axis 
 running to the north from the California Build- 
 ing, straight against the sea, to be arrested by 
 the outstretched arms of the Organ colonnade. 
 That must suffice for the moment, since the 
 Prado offers much more for investigation. 
 
 I always have the desire in studying an expo- 
 sition to acquaint myself with the larger con- 
 structive features before sitting down to the less 
 strenuous pleasures of investigating the smaller 
 and minor units. The San Diego. Exposition, in 
 spite of its orderly arrangement, has nevertheless 
 that irregular character so typical of all Latin 
 cities, inciting one's curiosity to the breaking 
 point, and tempting one on. Leaving the Plaza 
 de Panama and proceeding eastward on the 
 Prado one passes two buildings, one on each 
 side, the Home Economy on the left and the 
 Foreign Arts on the right, and one expects to see 
 this scheme repeated farther on with another 
 group, but discovers once more the introduction 
 of another charming unit, based on a minor 
 traversing axis and leading up towards the north 
 
 [44] 
 
THE ARCADE OF THE SCIENCE AND EDUCATION BUILDING 
 
THE BUILDINGS 
 
 into the Botanical Building. Here no paved 
 open plaza has been attempted, but a peaceful 
 poetic note of a placid laguna and its minor 
 more intimate neighbor, the so-called lagunita, 
 furnish the keynote. The entire neighborhood 
 has been called the Botanical Garden. For the 
 moment we shall leave it, to return to it later. 
 After this glimpse into the side court, the Prado 
 continues between another group, the Varied 
 Industries on the left and the Commerce and 
 Industries on the right. Arriving at the point 
 beyond these buildings, one's attraction is deci- 
 dedly carried towards the left, where the sym- 
 metrical arrangement of the Southern California 
 Counties Building occupies a prominent place 
 all by itself, standing away from the Prado by 
 several hundred feet. Between this building 
 and another, the Agricultural Building, closely 
 adjoining the Varied Industries, runs the Calle 
 Cristobal, which loses itself gradually among 
 agricultural outdoor displays. 
 
 In this part of the Exposition we have also the 
 San Diego successor of the old-time Midway or 
 Pike — the Isthmus, the apparently inevitable 
 feature of expositions. It is in this one feature 
 that modern expositions have not as yet dared 
 to emancipate themselves. It is here again the 
 same old thing, the same tawdry tinsel, the same 
 old peanut and popcorn pandemonium on Sun- 
 days. Occasionally one runs across something 
 that makes a lasting impression, like the highly 
 successful "Painted Desert." Set up in the 
 most remote northerly end of the Exposition, it 
 deserves much attention for its really artistic 
 features. I imagine that to the European who 
 
 [45] 
 
THE BUILDINGS 
 
 might be studying on a map of America the 
 relatively short span between the Arizona habitat 
 of the Indians of the Southwest and the city of 
 San Diego, the thought of a reproduction at 
 considerable cost of this most picturesque Indian 
 dwelling might hardly occur. He might think it 
 easier, having arrived at San Diego, to finish the 
 relatively short distance to the real thing, here 
 so wonderfully well reproduced. The skies of 
 Arizona differ little from those here, and even 
 toward the east the tablelands of the skyline 
 furnish almost the identical physical conditions 
 necessary for a faithful reproduction of this 
 ethnological exhibit. With rude rocks brought 
 in from Arizona and New Mexico, with desert 
 cedar and cactus and piiion wood, with the help 
 of the white man and the intimate knowledge of 
 the red man himself, the true life of the Indian 
 of the American Southwest has been represented. 
 It is by no means an ordinary village. Skilfully 
 and with fine regard for effect of genuineness, 
 the habitations of the cliff dwellers and the 
 "Logans" of the Navajos and the other nomadic 
 tribes are here set up. Even the towering 
 pueblos of the Zuni and Hopi are in evidence. 
 One gets a very real and lasting impression of 
 a unique and old civilization of Indian life with 
 which very few people are familiar. In the cool 
 crevices of the rocks the Navajo women are at 
 work weaving in crude colors their decorative 
 rugs and blankets, while the children are carding 
 and sorting the colored wool. On the roof of 
 the adobe dwellings the pueblo Indians are 
 shaping their pottery and hammering out their 
 silver and copper ornaments. In the sacred 
 [46] 
 
THE FOOD PRODUCTS BUILDING FROM THE BOTANICAL GARDEN- 
 THE LAGUNITA IN THE FOREGROUND 
 
THE BUILDINGS 
 
 keva sometimes the braves may be heard stamp- 
 ing furiously in their dances, such as their 
 ancestors danced long before the coming of the 
 white man. It is an atmosphere itself and free 
 from any of the circus features which so often 
 spoil the transplanted life of foreign usages and 
 customs. After wandering down the appar- 
 ently endless Isthmus, the "Painted Desert" 
 comes as a great surprise, offering a genuine 
 pleasure. 
 
 But so far it has only been a cursory exami- 
 nation, with a closer investigation of the two 
 extreme points of interest, the California Quad- 
 rangle and the Indian Village — one represent- 
 ing the highest artistic expressions of the white 
 man's civilization and the other the much older 
 and still existing art of the real American. It 
 will be necessary to begin again at the point 
 where the Prado springs from the Plaza de 
 California. Under the sombre shadows of the 
 arcades which line the Prado on either side, we 
 are tempted to forget our plan of investigating 
 the outside of the buildings more closely, to 
 yield to the enchanting pictures of the sheltered 
 stairways leading into another realm of the 
 Exposition — the Gardens. But that is reserved 
 for another chapter. 
 
 The Science and Education Building suggests 
 three styles — Mission, Spanish Renaissance, and 
 Moorish — represented by the round plain arches 
 of the arcade, the decorative windows of the 
 upper story, and the glistening color note of 
 the tiled turret, respectively. 
 
 It will be observed immediately on leaving 
 the California Quadrangle that a somewhat 
 
 [47] 
 
THE BUILDINGS 
 
 different spirit prevails now in the architecture. 
 One's attention is first drawn to the differences 
 in texture and color of the buildings outside the 
 California Quadrangle. The cement finish in 
 the permanent group has a darker tone, while a 
 certain smooth and light plaster of Paris quality 
 seems to be the controlling note of the tempo- 
 rary buildings. But it is not this alone. The 
 architecture, while it has the same constructive 
 dignity as the California Cathedral, has not the 
 refined reserve that one so greatly admires in 
 that building. This is particularly true of the 
 ornamental detail. It will readily be seen that 
 a decorative style of architectural ornamenta- 
 tion, such as the Baroque, can very easily become 
 over-elaborate and loose, forgetting its true 
 function of supporting the constructive forms 
 of the buildings. While Mr. Goodhue was the 
 guiding mind of the whole ensemble, it becomes 
 very evident that other workers interpreted his 
 ideas, not always in the spirit of the reserved 
 style of the master. There is a great deal of 
 variance in feeling and in scale in the many 
 buildings. They are not all equally successful. 
 The Science and Education Building shows good 
 restraint and much thought. The window open- 
 ings, with their gay touch of the marble column, 
 are almost Romanesque. It is a building that 
 is conspicuous for a certain respectful attitude 
 toward its most dignified neighbor, the great 
 Cathedral, which it adjoins. The same must be 
 credited to the Indian Arts Building, opposite, 
 on the north side of the Prado. Much smaller 
 in ground area by reason of the great space it 
 had to yield to the Montezuma garden, its 
 [48] 
 
THE ORGAN ON THE PLAZA DE LOS ESTADOS 
 
THE BUILDINGS 
 
 facade is really found on the Plaza de Panama. 
 This is the most Mission-like creation of all the 
 Exposition buildings — distinctly simple and 
 almost primitive in style. Quite in keeping 
 with this purpose and following the building 
 traditions of the American Indians, the walls of 
 this building are very plain, completely devoid 
 of decoration except on the north doorway. 
 The open belfries in this Mission building are 
 typical, however, in their primitiveness. 
 
 Reaching the Plaza de Panama once more, 
 the symmetrical form of the Sacramento Val- 
 ley Building rises impressively. Most happily 
 placed, it is fully deserving of its prominent 
 situation. Among the many unsymmetrical 
 and sometimes poorly balanced buildings, it 
 comes as a great relief. Its massive dignity of 
 almost strictly Renaissance plan calls for respect. 
 Mr. Allen may well be proud of this building 
 and of all the attentions which are bestowed 
 upon it owing to its prominent location. It 
 conveys the impression of a city palace or even 
 a town hall. Here one has the feeling of having 
 arrived at the center of social outdoor activities. 
 In its general features it resembles the Palacio 
 at Oaxaca in Mexico, a consideration which really 
 adds as little to its organic effect in its pres- 
 ent surroundings as it detracts from the really 
 new note furnished by the sloped tile roof and 
 the elaborately carved cornice. The seven 
 graceful arches which constitute the principal 
 feature of its facade are supported by pillars 
 with half columns in front twined with sculp- 
 tured grape vines, a design that is much in 
 evidence at this Exposition. 
 
 [49] 
 
THE BUILDINGS 
 
 The daring color effect of the building is pro- 
 duced not only by the contrast of the red roof 
 against an imperturbable blue sky, but also by 
 the blue curtains on the windows, brought for- 
 ward and hanging over the iron railings. The 
 large blue and yellow striped awning raised in 
 front of the building, to shelter either band or 
 dancers, furnishes the key to the whole color 
 scheme of the Exposition. The color scheme is 
 worthy of study, since it demonstrates in a very 
 striking way what may really be accomplished 
 with just a few daring notes of primary colors 
 against the bright surface of buildings. We 
 have heard so much about exposition color 
 schemes of very elaborate scope that an effective 
 use of just a few strong primary colors becomes 
 really interesting in its simple contrasting feat- 
 ures. There is no color at all on the buildings 
 anywhere. They are all painted white, with a 
 tinge of cream wherever they are temporary, 
 and the great California Building has the soft, 
 warm color of mature cement. And still color 
 seems to run through everywhere, without occur- 
 ring in great quantities. It is not a color 
 scheme of mellow middle tones spread over large 
 surfaces, but the piquant dash of bright blue 
 and yellow or a daring moss green or again an 
 orange which joyfully greets you from the many 
 window openings of the buildings. Together 
 with the similarly candid notes of the tile on the 
 great domes and minor turrets of other buildings 
 which are completely covered with them, this 
 is all the color furnished by the hand of man. 
 However, nature in its abundance has added 
 other color schemes which we shall meet with 
 
 [50] 
 
DECORATIVE FLOWER URNS ON THE PRADO 
 
THE BUILDINGS 
 
 later. Sloping toward the sea, the paved sur- 
 face of the Plaza de Panama continues into the 
 greensward of the Esplanade, separated from it 
 by a balustrade in order to preserve the full 
 meaning of the great central space. On either 
 side, west and east, are two pretentious build- 
 ings of similar Spanish Renaissance type. On 
 the west is the smaller, the Kern and Tulare 
 Counties Building, while on the east side stands 
 the much larger San Joaquin Valley Building. 
 The former is simple and unpretentious, though 
 most attractive, while the latter has all the 
 ornateness of the ever-present Churrigueresque 
 style. 
 
 We have by this time arrived at the organ — 
 that most impressive feature of the Exposition. 
 Architecturally it is not very convincing. It is 
 hard to understand the pygmy scale of the 
 colonnades as contrasted with the great bulk of 
 the central part, housing the mechanism of the 
 organ. Of all the architecture of the Exposition 
 it is to my mind the most uninteresting, most 
 untemperamental creation. Compared with the 
 many architectural pyrotechnics elsewhere on 
 the grounds, it does not enter into the concert 
 of over-joyous Baroque melodies. It sings all 
 by itself in pseudo-classic strain without having 
 any classic expression. However, the organ 
 must be enjoyed for what it produces musically 
 and for what you may see from its spacious 
 colonnades. Absolutely unprotected, it stands 
 on a rising hillside without fear of inclemency of 
 the weather. From having sat there often, on 
 one of the many comfortable benches on the 
 Plaza de los Estados, at different times of the 
 
 [51] 
 
THE BUILDINGS 
 
 year, I have come to the conclusion that there 
 is no such thing, at least at San Diego. I do 
 not know how often during the year the public 
 has been deprived by bad weather of the delight- 
 ful hour of Dr. Stewart*s recital, but it certainly 
 cannot have been very often. It is the most 
 enjoyable hour of the day — - it is an important 
 feature which contributes toward the original 
 note of this Exposition. There have been organs 
 at all expositions, in fact some much bigger ones, 
 for instance at St. Louis, but none have played 
 for an entire exposition at one time. Every- 
 where over the entire plateau may be heard the 
 monumental music of the Handel Largo or the 
 sweet harmonies of some folk melodies. The 
 organ gives tone .to the Exposition and nobody 
 is permitted not to enjoy it. It was daring to 
 select the most exposed position for this musical 
 outdoor phase of the Exposition, but it has 
 proved a great success. It will, after the Expo- 
 sition, for many years to come be the source of 
 much enjoyment and education to all the people 
 who will be privileged to visit this blessed spot. 
 
 There still remain to be visited the buildings 
 east of the Plaza de Panama, along the Prado. 
 Architecturally they all more or less forget them- 
 selves and indulge in a veritable carnival of 
 Baroque ornamentation, such as the wildest 
 periods of Europe seldom beheld. The influ- 
 ence of the noble Cathedral is waning, the 
 mantle of restraint is thrown away, and riotous 
 joy prevails. This is of course all in the style, 
 but it shows the difference between the work 
 done by a man whose hobby, so to speak, has 
 been so individual a style as Spanish Baroque 
 
 [52] 
 
THE TOWERS OF THE FOOD PRODUCTS BUILDING ON THE 
 CALLE CRISTOBAL 
 
THE BUILDINGS 
 
 as demonstrated in the California Building, and 
 the work here done by men who had to live 
 themselves quickly into a style which at best 
 nobody can completely master in its most 
 mannered way. It is the expression of the 
 most decadent side of Baroque that jumps at 
 us here from all corners. Overly heavy, drop- 
 sical mouldings conveying the idea of enormous 
 physical weight, ornamental convulsions of all 
 kinds, loud and spectacular in effect, are in 
 evidence in more than one place. But we must 
 not forget this is an Exposition and that this is 
 not the part intended for posterity. 
 
 The Home Economy Building and the Foreign 
 Arts Building on the east side of the Plaza de 
 Panama extend also partly up the Prado. The 
 chief feature of each is a tower. The Home 
 Economy Building is the more successful one of 
 the two, particularly on the west side. It has a 
 delightful Spanish Moorish character, reminis- 
 cent, however faintly, of the Palace of Monterey 
 at Salamanca. A wooden pergola over the 
 arcade connects this building with the Sacra- 
 mento Valley Building. The tower on the For- 
 eign Arts Building, distinguished by the crown- 
 ing ornamentation, in the shape of many small 
 pinnacles, contrasts with the plain finish of the 
 tower opposite on the north. The windows on 
 the upper story of this building are particularly 
 pleasing in their decorative treatment. Those 
 on the north side are protected by iron grilles, 
 as is the custom in Spain. Continuing on the 
 right of the Prado, the Foreign Arts Building is 
 connected by a very interesting colonnade of 
 semicircular arches. It is covered with a tiled 
 
 [53] 
 
THE BUILDINGS 
 
 roof adding that touch of Spanish atmosphere 
 one always enjoys. 
 
 The Commerce and Industries Building and 
 the Varied Industries opposite are the two 
 largest buildings in the grounds and they are 
 in a measure the most typical examples of the 
 declining beauties of a marvelous style. It is 
 in these two buildings, particularly in the Varied 
 Industries, that one may speak of architectural 
 pyrotechnics, with all the flamboyant effects of 
 overdone ornamentation. The Commerce and 
 Industries Building is not free from certain 
 overnaturalistic tendencies, particularly in the 
 large consoles designed as kneeling women. This 
 may be due to a lack of skilled artisans experi- 
 enced in the modelling of human forms, but 
 whatever may be the cause, these realistic ladies 
 do spoil the pleasure of enjoying the otherwise 
 well-designed heavy cornice of the building. 
 The color treatment in the cornice is unique 
 among the buildings, but most effective. 
 
 Adjoining the Varied Industries on the north 
 and stretching along the Calle Cristobal, the 
 Food Products Building continues the scheme 
 of things. It might easily be mistaken for part 
 of the Varied Industries Building which it 
 adjoins, but official designation decrees it a 
 special building, though there is no reason visible 
 for this division on the outside. Architecturally 
 one will very quickly find it one of the really 
 interesting buildings on the grounds. It has 
 two very distinct artistic features — the archi- 
 tectural emphasis of the main entrance on the 
 east side and the highly successful treatment of 
 the part which adjoins the Botanical gardens. 
 
 [54] 
 

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 THE FOUNTAIN IN THE BOTANICAL GARDEN 
 
THE BUILDINGS 
 
 Each has its own distinctive beauty. The main 
 entrance, with its two towers, is typical of a 
 Spanish monastery in the Churrigueresque style, 
 and the large scaled ornamentation around the 
 door is much better Baroque than one generally 
 meets with. Toward the west the apse and 
 choir of the chapel extend from the great mass 
 of the building, making one side of a most 
 charming Spanish court. This part, to my 
 mind, is one of the most successful details the 
 Exposition has produced. There is a gentle 
 restraint about it that can be the result only of 
 thoughtful study and intimate understanding. 
 
 One more building, last but not least, invites 
 external inspection, and that is the Southern 
 Counties Building, once more disclosing in its 
 style the influence of the Spanish Churriguer- 
 esque in its best phases. It is almost sym- 
 metrical in plan and at once dignified and 
 conspicuous for its general decorative effect in 
 the landscape. Its two tile-covered gay towers 
 are its chief features, unless one considers the 
 court over which these towers preside, with its 
 restful atmosphere, worthy of that character- 
 ization. I prefer the Southern Counties Build- 
 ing to any single unit on the ground for its 
 freedom from any affectation of style. It seems 
 eminently successful, not least for its very 
 excellent ground plan. The only emphases in 
 the building are the towers, which perform their 
 function well without any interference from 
 ornament. Simple balconied window openings 
 are the only distinctive note outside, with the 
 exception of the great door and staircase on the 
 west side, opposite the Food Products Building. 
 
 [SS] 
 
THE BUILDINGS 
 
 So far it has been necessary, in order to get a 
 proper general view of the architecture of the 
 ensemble, to remain out in the open, and the 
 most intimate quality of the building colonnades 
 has not come to be appreciated. But the day 
 becomes longer, the shadows grow short, and 
 one welcomes the secluded and subdued atmos- 
 phere of the arcades. They are as necessary 
 here as in the hotter climes of Mexico and the 
 thought of being able to traverse the entire 
 Exposition under the cool roof of low-ceilinged 
 arcades is reassuring to one's comfort. Inter- 
 rupted only by the Plaza de Panama — and 
 even there one could stay within the graceful 
 arcades of the Sacramento Valley Building — 
 they offer their cooling spaciousness to the visitor 
 from one end to the other. They tie the whole 
 architecture together, and once underneath one 
 forgets the sometimes noisy ornamentation on 
 the fa§ade above. Their effect is one of great 
 benefit to the unity of the Exposition picture. 
 No matter what the type of building, whether 
 simple Mission or belligerent Baroque, these 
 long, apparently endless avenues, extend along 
 all the buildings in rhythmic foreshortening into 
 endless distances. They make one content with 
 the generally more or less strenuous work of 
 Exposition wanderings, and even if the excep- 
 tional should occur and the heavens send down 
 their refreshing showers, they are again the 
 haven of refuge, without limiting one to a single 
 spot. 
 
 After some time spent in the intimacy of the 
 arcades, one might be tempted to do justice to 
 the many buildings representing the States of 
 
 [56] 
 
THE PIGEONS ON THE PLAZA DE PANAMA 
 
THE BUILDINGS 
 
 the Union. Starting on the Plaza in front of 
 the organ, to the right the Via de los Estados 
 leads to a number of buildings which in their 
 way have tried to fit into the scheme of things, 
 with much success when one considers the fact 
 that they were designed by different men, in 
 different parts of the continent, outside of the 
 control of the Supervising Architect. The Wash- 
 ington State Building assumes a gaiety barely 
 suggestive of its Mission origin. An original 
 feature of the building, successfully managed, is 
 the many window openings which penetrate the 
 outer walls. A little further along on the left 
 the Montana Building impresses by its very 
 dignified fagade. An air of the secludedness of 
 the Mission, from which it too has the general 
 outline, is evident in this building, which con- 
 trasts markedly with the loose note of its neigh- 
 bor from Washington. 
 
 A little to the right, opposite, a most unusual 
 structure arouses curiosity as regards its ante- 
 cedents. It is simple in construction, almost to 
 a point of naivete. New Mexico could not have 
 used a better, a more fitting type of building 
 than this old Indian-made Mission. The old 
 Franciscan Mission Church after which it was 
 fashioned was built long before the days of the 
 pioneer houses of worship in California. It still 
 stands on an elevated position, the rock of 
 Acoma. Church and fort, castle and dwelling 
 alike, it was built for defense as well as for pur- 
 poses of civilization. It has here in repro- 
 duction the same simplicity as our California 
 Missions, for reasons which were the same in 
 either country, lack of expert artisanship. Built 
 
 [57] 
 
THE BUILDINGS 
 
 relatively low, its two towers emphasize the 
 church building as distinguished from the adjoin- 
 ing buildings, which are used for displays of an 
 archaeological and commercial character. The 
 church proper has the true atmosphere of a 
 house of worship, and together with the Serra 
 Chapel in the California Building, it contributes 
 largely toward an atmosphere of religious senti- 
 ment. The chapel, with its weighty beam 
 ceilings, the altar, and the typical benches — 
 they all speak of the primitive character of the 
 life of the pioneers of the Southwest, the Fran- 
 ciscan monks. As one swings around the drive 
 of the States, the Utah Building, with its magni- 
 ficent portal, commands attention. Built on 
 the plan of a cross, its spaciousness becomes 
 evident even from the outside. In general char- 
 acter it is very much like the Montana Building, 
 but more open and less reminiscent of a Mission 
 church. There are others, but this short survey 
 must suffice when one of the most important 
 features of the Exposition is still waiting for a 
 share of praise that cannot be made too large. 
 The garden aspect, the flower wealth, the entire 
 atmosphere of a newly created paradise, can 
 never be praised too highly. It is the making 
 of the Exposition, the cause of its intimate 
 feeling, its character of having been there in 
 days gone by. 
 
 [58] 
 
THE GARDEN ASPECTS 
 
 ONLY three years ago the paradise in which 
 we find the Exposition embedded was 
 nothing but a large tract of land devoid of any- 
 thing that might be called vegetation. For 
 longer than the memory of man this land had 
 been untouched by water save by those precious 
 few pluvial blessings which find their way into 
 the southwest corner of the United States. It 
 was no wonder that the soil became hard, and 
 seared by the almost continual sun. In the 
 canons and on the mesa there grew nothing but 
 the obstinate cactus, the fragrant sage and 
 chaparral. The sly coyote found it an ideal 
 haven of refuge from his depredations into the 
 neighboring country. On one side of the mesa 
 was a scattered grove of pepper trees, battling 
 with outstretched arms for a sad existence, 
 deprived of any encouragement in the way of 
 water. 
 
 That was only three years ago, and today we 
 have the surprising spectacle of the pinnacles 
 of a romantic city of Spain rising amidst luxu- 
 riant verdure. From immediately about the 
 buildings down to the depth of the canons, the 
 land is covered with a thick growth of semi- 
 tropical foliage, with lofty trees, and generously 
 spreading shrubs and bushes. A magic garden 
 has taken the place of the desert. It seems 
 
 [59] 
 
THE GARDEN ASPECTS 
 
 almost as if a wonder had been performed. 
 Those who know the resuhs of sun, soil, and 
 water if brought together into action in other 
 parts of California will marvel less, but to the 
 non-Californian with a receptive mind, this 
 Aladdin performance must be most interesting 
 and instructive as well. Leaving out of consid- 
 eration the older Balboa park, leading up to the 
 Exposition, a view from the viaduct over the 
 side of the parapet down into the winding canon 
 will disclose a very convincing sight of the 
 horticultural wonders performed. Even on the 
 bridge itself, the huge pots emphasizing the ends, 
 with their monstrous century plants, arouse 
 curiosity. With their flower stalks rising twenty 
 feet into the air, they contradict the popular 
 story of the centenary blossoming of these 
 mythical flowers. I am told these were raised 
 from young shoots in the nursery, and they are 
 already paying the penalty of maturity, in less 
 than a decade. But the bottom of the canon, 
 with its irregular shaped pond, has too strong 
 an attraction to be outdone by the century 
 plants. It is a wonderful pleasure to lean lazily 
 over the safe parapet and listen to the monoto- 
 nous melodies of the thousands of frogs leading 
 a merry life in the pool. With its well-concealed 
 borders, the pool has a wealth of aquatic vege- 
 tation which is rivalled only by the laguna and 
 its sister, the lagunita in the Botanical Garden. 
 Everywhere in the shallow waters the lotus is 
 sending up its large round leaves, standing, as 
 if they wanted to shade the water from the sun, 
 on graceful stems above the surface. The water 
 lily occupies other corners and bamboo reeds of 
 [60] 
 
THE SOUTHERN CALIFORNIA COUNTIES BUILDING 
 
THE GARDEN ASPECTS 
 
 many kinds spread all around the edge, offering 
 shelter and seclusion to the clannish blackbird 
 and the mournfully colored mudhen. Then 
 there is the calla, that symbol of a warm clime, 
 blooming almost all the year around. Pampas 
 grass grows in enormous clumps, sending out its 
 great feather dusters. While this most deco- 
 rative plant will do well with ordinary irrigation, 
 standing on the banks of the pool, resting in 
 well-watered soil, it has grown in a remarkably 
 luxuriant fashion. The papyrus is another of 
 the aquatic plants we observe here under con- 
 ditions which must be not less favorable than 
 those on the fertile banks of the Nile. All 
 around on the sloping sides of the canon are 
 many evidences of the results which man, work- 
 ing in sympathetic response to a most beneficent 
 nature, has achieved where once was a desert. 
 Near the bridge stands a grove of Italian and 
 Monterey cypresses, the graceful outlines of the 
 former accentuating the point where the bridge 
 throws its first graceful arch in its efforts to 
 reach across the canon. All around are groups 
 of acacias of different kinds, varying through 
 many shades of darker greens of older trees into 
 the lighter tints of the younger foliage. Then 
 there is our adopted state tree, the eucalyptus, 
 from the common blue gum to the finer red 
 variety and the fig-leafed one with its blaze of 
 brilliant red blossoms. The eucalyptus has 
 become as ordinary as the sparrow, but of the 
 finer varieties, like the ficifolia, one can never 
 see too many. Then come the palms, some very 
 tall ones of the Cocos variety, the thick-bodied 
 symmetrical Canary Island date-palm, and 
 
 [61] 
 
THE GARDEN ASPECTS 
 
 scores of others. Among all these there has been 
 scattered a great variety of other trees, furnish- 
 ing by successive blooming a very desirable note 
 of color. Near the Main Gate are magnificent 
 Fuchsias, the gay Canna, and the bright orange 
 of the Lantana gleaming through ever5rwhere. 
 
 But we have already lingered too long on the 
 bridge, since the intimate beauty of many charm- 
 ing garden effects is waiting for us inside. Along 
 the Prado, continuing the scheme from the out- 
 side of the Exposition buildings, rows of for- 
 mally clipped Blackwood Acacias, standing in 
 the thick green lawn, line the main avenue. In 
 front of the colonnade a hedge of Coprosma, with 
 its waxy green leaves, continues the effect 
 toward the building. It covers densely the iron 
 railing between the posts of the arcade and it is 
 refreshing to the eye from within as well as from 
 without. From behind its shadowy foliage all 
 sorts of vines rise to climb gracefully and luxu- 
 riantly over the arches of the arcade into the 
 roofs and from these over the adjoining building, 
 away up where the eaves and domes begin and 
 where the mission bells swing in their belfries. 
 It is difficult to describe the colorful beauty of 
 these vines, particularly of the Bignonia, of a 
 vivid terra cotta yellow, contrasted with the 
 crimson vermilion of a rare Bougainville a. They 
 all sweep over the walls in great streams of 
 color which do not seem to be afraid to reach 
 to the highest points. The fascination of these 
 spectacular flowers is so great that one almost 
 overlooks the many more intimate garden feat- 
 ures which the careful visitor will discover 
 everywhere. 
 
 [62] 
 
IN THE PATIO OF THE SCIENCE AND EDUCATION BUILDING 
 
THE GARDEN ASPECTS 
 
 Adjoining the California Building on the 
 south side of the Prado a shaded stairway leads 
 under an arch into the Montezuma Garden. 
 Los Jardines de Montezuma is the pompous title 
 of this retreat. There is, however, nothing 
 pompous about this sheltered spot. It is most 
 successful as a fine flower garden, embracing all 
 the plants one finds in many climes in the well- 
 kept garden. It is a typical Spanish formal 
 garden, sheltered on all sides, a veritable retreat. 
 On three sides buildings, including the Prado 
 Colonnade, furnish the enclosing sheltering walls, 
 while on the south a pergola almost invisible in 
 the surrounding shrubbery divides it from the 
 gently sloping park. As if the solid frames of 
 the buildings were not enough, rows of Euca- 
 lypti, of Pittosporum, and Blackwood Acacia 
 have been set all around, outdoing each other 
 in setting a new record of annual growth. The 
 Pittosporum, with their heavy orange-colored 
 clusters of berries, are nowhere finer. The 
 formal plan of the garden has been emphasized 
 by a border of dwarf Veronica, enclosing many 
 flower-beds of various shapes. The bulk of the 
 bedding has been done by liberal use of our 
 commonest garden friends, the red Geranium 
 and the white Marguerite, which have responded 
 here with their typical prolificness. Columbines 
 in many colors have been added and also the 
 Lion's Tail, the apple-scented Salvia, and many 
 more. It is a veritable riot of color, and yet 
 full of harmony, with its mediating notes of 
 many greens. A classic pergola on the west, the 
 only typical Greek bit of architecture in the 
 grounds, invites one to sit down on its rustic 
 
 [63] 
 
THE GARDEN ASPECTS 
 
 benches to drink in the enchanting picture of 
 floral Hfe. Of the many secluded spots, this is 
 the most fascinating retreat, offering alike 
 warmth, shelter, and stimulus for further work. 
 The pergola on the south, crowned with wooden 
 beams, opens up another picture of great rest- 
 fulness in the simple tree-bordered space of a 
 well-kept lawn. It was here that a Shake- 
 spearean play found its delightful outdoor setting, 
 under a southern sky. 
 
 After having discovered the Montezuma Gar- 
 den, one becomes curious as to other obscured 
 garden units — and many there are, giving end- 
 less pleasures. North of the great Cathedral 
 will be found a fine open park, ready to receive 
 the weary wanderer. In fact nowhere has the 
 impression been allowed to develop that you are 
 behind a building in the sense of being in a 
 backyard: Walking around and behind the 
 building is one of the great pleasures at this 
 Exposition. The intimate side of the Expo- 
 sition reveals itself here. The loving care of the 
 gardener who leads the eye from the buildings 
 gently over trees, shrubs, into the ground is 
 manifest at every turn. It is here that we feel 
 the difference between the new and the old type 
 of exposition. Here you can see behind the 
 screen, so to speak, without fear of sham and 
 plaster of Paris deceit. Order and care has been 
 maintained with all that regard for the finer and 
 lasting effects that attention to detail will create. 
 
 But the call of the Prado is still as strong as 
 ever. There are still two intimate secluded 
 gardens which each deserve the fullest attention 
 for their individual charm. They are both of 
 
 [64] 
 
THE GARDEN ASPECTS 
 
 the patio type, and situated within the Science 
 and Education Building. The larger one of the 
 two, enclosed on three sides by the building 
 walls of severe plainness, with only the single 
 decorative emphasis of an ornate doorway, is 
 typical of the Spanish or Spanish-American 
 inner courts. It has all the privacy and charm 
 of seclusion which is appealing in a country 
 where privacy in gardens is hardly known. 
 Here at San Diego, where the success of this 
 unique loitering-spot of subtropical climes has 
 been so well demonstrated, one is made to 
 wonder why so very seldom one meets with its 
 adaptations in our California dwellings. We 
 adhere religiously to the old-fashioned conser- 
 vatory rather than take advantage of the out- 
 door possibilities of a small open court. The 
 luxuriant plant growth here possible under ideal 
 conditions has produced a paradise in these 
 secluded spots which is not rivalled in the most 
 favored spaces anywhere in the Exposition. In 
 contrast to the English-garden effect of the 
 Montezuma garden across the Prado, its vege- 
 tation is truly tropical. Right at the entrance, 
 at either side of a few steps leading up from the 
 arcade, are standing guard, with outstretched 
 arms, two belligerent looking Dragon trees, of 
 the Drac<xna family. A refreshing area of grass 
 leads up all around against the solid wall of 
 Bananas, Bamboo, Ferns, Papyrus, grouped in 
 a most effective way, giving each one its oppor- 
 tunity to show off its foliage of unimpaired 
 growth. Creeping and pushing through from 
 everywhere, vines of all sorts ramble and clamber 
 over the bushes and trees, in their effort to reach 
 
 [65] 
 
THE GARDEN ASPECTS 
 
 sunlight above. Here we meet again the solid 
 yellow note of the Bignonia venusta, furnishing 
 the play of the Spanish colors with their neighbor 
 below, the intensely red poinsettia. Color every- 
 where, the sky above, the glistening tiles of the 
 tower at the southeast corner — everything 
 contributes to the vigorous contrasts of this yet 
 placid retreat. At the edge of the shrubbery 
 the blue African daisy and the Begonias, with 
 many harmonious reds, lead a happy life under 
 ideal conditions. After getting accustomed to 
 the half-dark, one discovers Pan grinning from 
 the seclusion of the shrubbery. He presides 
 over two small fountains, spouting water mer- 
 rily from a pedestal into a little stone basin. 
 The elusive element, introduced merely in a 
 suggestive way, completes the happy picture of 
 comfort and seclusion. 
 
 A little further up, at the corner of the Science 
 and Education Building, a yet smaller patio has 
 been introduced. Every arch of the adjoining 
 arcade discloses a different picture of it. In 
 many respects it is very much like the larger 
 patio, but on close inspection reveals many indi- 
 vidual charming notes. The central feature 
 again is a small Pan fountain, peeking out of the 
 sheltering shades furnished by the large leaves 
 of the Elephant's Ear {calladium), 3. native of 
 Hawaii. Great strains of the Solanum jasmi- 
 noides add their silvery note to the grey blue of 
 the eucalypti, competing with the ever-present 
 glory of the gorgeous Bignonias and Bougain- 
 villeas. Away up on the plain east wall of the 
 building forming the patio a typical Spanish 
 balcony, half hidden amidst the feathery young 
 
 [66] 
 
O 
 
THE GARDEN ASPECTS 
 
 growth of the Eucalyptus, arouses romantic 
 thoughts. A carelessly flung rug hangs lazily 
 over the railing, and one stops for awhile to see 
 a Spanish Seiiorita step out from within to com- 
 plete the picture. But one wanders on under 
 the arcade to meet Pan once more, at the head 
 of a formal little avenue bordered by the glossy 
 foliage of the Eugenia myrtifolia. 
 
 One is much tempted to lose oneself in the 
 maze of curved paths running everywhere 
 around the outside of the buildings. But 
 instead one yields to the alluring strains of 
 Spanish music which come from within the shel- 
 tered porch of the Sacramento Valley Building. 
 We have arrived once more at the Plaza de 
 Panama — the great playground and resting 
 place alike. I think nobody ever passes the 
 Plaza de Panama without resting awhile, in 
 the sun or under the shadows of the buildings, 
 to absorb the picture of Spanish-Italian atmos- 
 phere which always prevails here. The Spanish- 
 Mexican dancers, to the accompaniment of 
 singers and mandolin players, furnish a very 
 fine typical note that nobody can help stopping 
 to enjoy, if only for a short space of time. Their 
 colorful costumes, the short black bolero jackets 
 and white waists, together with the bright yellow 
 and red skirts, make a striking picture. The 
 men of the group stand back with unemotional 
 faces, taking apparently little interest in any- 
 thing but their own singing and playing. 
 
 By this time the pigeons have boldly intro- 
 duced themselves to even the most unconcerned 
 visitor. Fluttering down from the arcades and 
 eaves of the buildings, they take the most 
 
 [67] 
 
THE GARDEN ASPECTS 
 
 friendly attitude, which, however, is based on 
 pure selfishness. Their ever-ready beaks inves- 
 tigate ever5rwhere for food, and they don't even 
 stop at descending boldly upon the various parts 
 of human anatomy offering a foothold. They 
 seem at home everywhere — on hats, on shoul- 
 ders, on the lap of every visitor who is willing 
 to contribute food from liberally purchased grain 
 packages. The pigeons to my mind furnish the 
 most unique note of the Exposition, and it was 
 a very good idea to encourage the first few of 
 these winged ornaments to stay and make them- 
 selves at home. Now their number is hundreds. 
 They seem to be everywhere on the Plaza, par- 
 ticularly where choice morsels of food are dis- 
 tributed by ever-ready visitors. To sit on one 
 of the benches and watch these birds in their 
 individual behavior is most entertaining. They 
 are all different in color, ranging from pure black 
 and white, from the slate-blue of the unadul- 
 terated carrier-pigeons, through every conceiv- 
 able shade and tint of color. By and by one 
 begins to recognize certain ones of them among 
 the many. As different as their colors, so are 
 their manners. Some are clownishly pirouet- 
 ting around, showing off in youthful vanity — 
 others are sedate, stiffly holding up their manly 
 chests as if they had to uphold the dignity of all 
 birddom. All are intensely interested in eating, 
 only interrupting their material pursuits to 
 make love to each other, in the true manner of 
 human beings. They are a great family and 
 they seem all to be guided by a common under- 
 standing of signals. Suddenly they will all rise 
 and with clapping wings perform great rhythmic 
 [68] 
 
A PATH BEHIND THE BUILDINGS 
 
THE GARDEN ASPECTS 
 
 swirls over plaza and around towers, to settle 
 down again to eating and love-making. The 
 pigeons of San Marco are older as an institution, 
 but the pigeons of San Diego have a faithfulness 
 to a spot which is surprising considering their 
 recent settlement. 
 
 Living in close company with the pigeons, the 
 peacocks assume their characteristic attitude of 
 superiority. Strutting about in aristocratic 
 fashion, disdainfully, without scrambling for it, 
 they condescend to peck some of the tendered 
 food. They do not mingle with the crowd, and 
 they barely tolerate the company of the pheas- 
 ants, who in their gorgeous plumage seem to 
 incite them to jealousy and anger. The pea- 
 cocks, however, do not hesitate a bit to show 
 off. Spreading their tails with wild agitation, 
 they are a curious combination of dignity and 
 silliness. The little Australian bush-fowl and 
 guinea-hen complete the picture. It seems so 
 logical to animal and man alike — the impres- 
 sion grows everywhere that here is an old and 
 settled estate, with all the charming detail 
 which only individual attention and appre- 
 ciation of a true milieu can produce. One leaves 
 the plaza only with much regret, with the 
 knowledge of a certain return to bathe in the 
 sun and listen to Spanish music and the cooing 
 of pigeons. 
 
 Further up the Prado to the left, the Moorish 
 Gardens hold many attractions to the lover of 
 nature. Here water has been used generously 
 and with fine effect. There is no irregular sur- 
 face of water an)rwhere in the Exposition with 
 the exception of the pool under the bridge, and 
 
 [69] 
 
THE GARDEN ASPECTS 
 
 all the water used ever^here else gives the 
 impression of serving as the piquant contrast 
 in the vast expanse of garden land. The Laguna 
 in the Botanical Garden is situated in so shel- 
 tered a place that it affords reflected pictures 
 of its architectural surroundings all day long, 
 and its name, Laguna de Espejo, Mirror Lake, 
 soon becomes justified to the visitor. It has all 
 the characteristics of a formal Spanish pool. 
 Rectangular in shape, of good proportion, it is 
 surrounded by a narrow strip of lawn. Broad 
 walks lead all around, offering many oppor- 
 tunities for rest in amply provided benches. 
 The Laguna itself is almost devoid of aquatic 
 plant life, in contrast with its adjoining neighbor 
 the Lagunita, which continues the pool, being 
 really only a smaller part of it on the other side 
 of the east and west axis of the Botanical Garden 
 in front of the Botanical Building. The Lagu- 
 nita is alive with the growth of all sorts of 
 Nymphcea. Lilies of all colors have found here 
 a congenial place, sending forth their best flower 
 effects. There is the pure white with yellow 
 center, the pure yellow, the light and dark pink, 
 ranging into darker reds. Pale and dark purple 
 are also in evidence, and one concludes once 
 more that as soon as one has made the reassuring 
 discovery that there is one plant which occurs 
 in one color only, in pure white, one has to learn 
 that nature's playfulness will not tolerate such 
 limited range of color in one flower. The 
 Lagunita is full of goldfish which thrive under 
 the sheltering shades of the expansive leaves of 
 the mysterious pond-lilies. 
 
 Before entering the Botanical Building, two 
 [70] 
 
THE FOOD PRODUCTS BUILDING, SEEN FROM THE REAR OF THE 
 SOUTHERN CALIFORNIA COUNTIES BUILDING 
 
THE GARDEN ASPECTS 
 fountain bowls at either end of the central path 
 become increasingly interesting, largely by their 
 grotesquely shaped Baroque fountain heads. 
 The Pan motif is here used once more, in a 
 quadrangle combination of the grinning gro- 
 tesqueness of the ruler of buUrushes and reeds. 
 The only strictly classic bit of architecture has 
 once more been used in the pergola at the west 
 end. It is the same as in the Montezuma Gar- 
 den and it arouses curiosity again on account of 
 its strictly Greek note. The Botanical Building 
 resolves itself into a real joke. One imme- 
 diately discovers that the raison d'etre for most 
 Botanical buildings does not exist here. One 
 observes that there is no difference whatever 
 between the luxurious growth of the gardens 
 everywhere in the Exposition and the carefully 
 tended growth within the building. What seems 
 at first to be a sheltering roof turns out to be a 
 lattice roof admitting light and air of the same 
 kind one finds without. A Botanical Building 
 in San Diego is a joke. I cannot help it. A 
 climate which will produce Poinsettias, the 
 tender Bignonias, the Begonia, and the Bougain- 
 villea in such profusion outdoors surely needs 
 no sheltered buildings to produce an array of 
 flowers, all kinds of palms, and trees which do 
 equally well outside. I could not help pitying 
 all those incarcerated flowers, which seemed as 
 if confined in a hospital for observation. The 
 Cocos palm does not seem any grander here than 
 outside and the majestic rubber-tree does not 
 send out its branches, with large-lobed leaves, 
 any more vigorously than in the open. Even 
 the Strelitzia I have seen at San Diego doing 
 
 [71] 
 
THE GARDEN ASPECTS 
 
 just as well as here under a bower of wooden 
 lath. Its peculiarly shaped spike of blue flowers 
 explains vividly its popular name, "Bird of 
 Paradise." 
 
 On closer investigation one discovers the 
 smaller part of the house given over to the 
 heated atmosphere of tropical plant life. Here 
 we meet the rare children of the tropics, with a 
 humid atmosphere for their existence. A rare 
 line of Vitis utilis is twining along the steel 
 beams, sending down its aerial roots into the 
 lukewarm waters of the pool. Here and there 
 these roots hang so closely as to give the effect 
 of a portiere. Then here are the many rare 
 ferns, like the elkhorn ferns and the large per- 
 forated leaves of a plant named Monstera 
 deliciosa, the "delicious monster." It also has 
 aerial roots and a most decided tropical appear- 
 ance, and the fruit is said to be delicious, if one 
 may believe it of a monster. Another plant 
 attracting attention is the climbing fern of 
 Japan. It is a splendid climber, and here it 
 makes a fine showing. In the pool an aquatic 
 plant with finely cut leaves floats in many 
 places. It is burdened with a most formidable 
 botanical name — Myriopyllum Proserpinacoides. 
 In spite of Proserpina's participation in the 
 botanical name, it is called Parrot's feather for 
 short. One soon gets a longing to be relieved 
 of the enervating, heated air of the artificially 
 produced tropical atmosphere and to be out 
 again in the open, which is only a short step. 
 
 To the student of plant life there is no end of 
 pleasure in San Diego. Back of the Botanical 
 Building stands, amidst tropical surroundings, 
 
 [72] 
 
THE PERGOLA IN THE BOTANICAL GARDEN 
 
THE GARDEN ASPECTS 
 
 a Japanese Tea House. The type is always so 
 very well preserved in these quaint and intimate 
 expressions of a wonderfully artistic people. No 
 matter where one goes, no matter in what climes, 
 in Europe or in America, one always has the 
 feeling that the guiding spirit behind this pavil- 
 ion is one and the same influence, and possibly 
 it is, since many of the important features are 
 the result of religious and other ideas based on 
 sentiment. The stone lanterns, the high-arched 
 bridge, the bronze crane, are all suggestive of 
 the fact that it is not alone their decorative 
 effect but the story they tell which demands 
 their presence. Everything is in the right place 
 and placed in such a way as to give the best 
 effect. It is indeed marvelous to study the 
 apparent irregularity and disorder of a Japanese 
 garden and to discover that its arrangement is 
 order in the best sense. Every path leads some- 
 where and never more than once to the same 
 spot. Curving and recurving, they open vistas 
 that one cannot help but notice, always created 
 with fine regard for light and background. No 
 matter how recent such a Japanese garden may 
 be — like the one here — it has at once the 
 appearance of having been in existence for a 
 long time. Every space has its suitable occu- 
 pant, and while there is an immense variety of 
 different plants in them, they are never fussy. 
 The use of water is equally successful, for 
 example, in their clever and convincing imitation 
 of the entire course of a stream, from the remote 
 mountain spring to the inland lake, animated 
 by many grotesquely shaped goldfish. In the 
 curious forms of the goldfish the Japanese mind 
 
 [73] 
 
THE GARDEN ASPECTS 
 
 expresses its experimenting genius, which runs 
 through all Japanese activities. 
 
 From the intimate character of the Japanese 
 garden we eventually reach, through a sheltered 
 path between the Cafe Cristobal and the Food 
 Products Building, a large open square given 
 . over entirely to a formal garden effect. Devoted 
 to flowers exclusively, it is a very gay spot at all 
 seasons. Roses in early summer, later on 
 Penstemon and Canterbury Bells, furnish great 
 beds of color. This is a more spectacular spot 
 in the Exposition picture, and those who long 
 for absolute quiet, for a "buen retiro," must 
 follow the driveway "El Paseo," which leads 
 to the south gate. Here we find the Pepper 
 Grove, which to the easterner has more charm 
 than to the Californian, who is well acquainted 
 with the unmanageable forms of this delicately 
 leaved tree. The Pepper Grove offers absolute 
 quiet and plenty of shade where one can rest, 
 or move over to the edge and bask in the sun 
 and inhale the refreshing breezes which blow in 
 from the sea. 
 
 Soon the sun will have dipped into the ocean 
 behind Point Loma, and the Exposition presents 
 itself at night in a new appeal. There is no 
 new experimentation in evidence here in the 
 field of lighting. The historical style so consis- 
 tently followed demanded lantern brackets and 
 visible sources of light, which have all been 
 distributed without any effect of confusion or 
 annoyance. The Exposition at night, with a 
 black-blue sky above, is full of mystery and 
 enchantment. The long, low-ceilinged arcades 
 seem twice as long at night, in their endless 
 
 [74] 
 
THE PAN FOUNTAIN 
 
THE GARDEN ASPECTS 
 
 rhythm of arches. Shadows are everywhere, 
 but never a feeUng of unsafeness steals upon one. 
 The heavy ornamentation of the buildings casts 
 curious shadow-faces on the walls and the 
 deeply-set windows become dark notes on the 
 large open surfaces. It is the picture of a 
 mediaeval city rather than of a modern Expo- 
 sition. One looks for figures in historical dress, 
 for Romeos and Juliets, but they do not appear, 
 and the modern lover and his lady fair furnish 
 many conventional substitutes. It is a fine 
 place to be at night, since the problem of a safe 
 return to the city through undesirable quarters 
 does not exist. A broad thread of light leads 
 back your way to the city by the sea. The 
 great tower is a blaze of light, reaching boldly 
 into the sky, not only for this but for all future 
 generations. 
 
 It is this thought which controls one's mind 
 in speculating whether it was worth while to 
 make this effort, single-handed, so to speak. It 
 was worth while — not only for the enormous 
 dignity of the undertaking but also for its 
 educational value to the lay masses. Even if 
 the less permanent buildings are eventually 
 removed and their ground areas filled in with 
 landscape gardens, the beauty of the ensemble 
 will suffer little. The California Quadrangle 
 alone, the structure alike most successful and 
 most conspicuous, will give a lasting interest to 
 this great permanent park. Every avenue will 
 have some permanent emphasis, like the great 
 Organ, and further up the Laguna the Botanical 
 Garden scheme. It is a very pleasing thought 
 of the San Diego of the future with its ever- 
 
 [75] 
 
THE GARDEN ASPECTS 
 
 growing development entirely encircling this 
 great garden spot we now admire as an Expo- 
 sition. One by one I hope to see such buildings 
 as the Sacramento Valley Building replaced just 
 as they stand today, in permanent material, to 
 satisfy the growing need for Museum Buildings. 
 One by one I hope to see many of them replaced 
 to demonstrate the permanent value of the art 
 of the city planner, which is so convincing here 
 in its practical and aesthetic aspects alike. 
 
 San Diego may well be proud of her accom- 
 plishments, achieved out of the strength of her 
 own resources. During the year 1916 much of 
 what seemed new and crude will become toned 
 down by the mellowing influence of the elements, 
 and her flora will jubilantly blossom forth again. 
 The Bougainvilleas will send out again their 
 myriads of gaily colored flower bracts. The 
 Bignonia will again seem to crush the arcades 
 under the wealth of their masses of flowers. 
 Again the pigeons will encircle the plaza in 
 happy abandon, augmented by the cautious 
 flocks of their new broods — all sure of suste- 
 nance and protection. The atmosphere of san- 
 guine Spanish life will prevail, under the same 
 skies which led Father Serra to feel at home in 
 a new country full of promise and danger alike. 
 The effect of the Exposition, in a country 
 scarcely shaped into a permanent type, cannot 
 but yield the benefits of this revival of an old, 
 impressive civilization. The San Diego Expo- 
 sition will not have been a mere celebration. 
 It will be considered a milestone in the civili- 
 zation of the West. 
 
 [76] 
 
APPENDIX 
 
BIOGRAPHICAL NOTES 
 
 Allen, Frank P., Jr., 
 
 Goodhue, Bertram 
 Grosvenor, 
 
 MoRLEY, John, 
 Olmsted, John, 
 
 PiCCIRILLI, FURIO, 
 PiCCIRILLI, AtTILIO, 
 
 PiCCIRILLI, Thomas, 
 PiCCIRILLI, Horatio, 
 
 PiCCIRILLI, SeTALIO, 
 
 Stewart, Humphrey 
 John, 
 
 Winslow, Carleton 
 Monroe, 
 
 (Architect) San Diego. Born in Grand Rap- 
 ids, Michigan, 1876. Educated at the Univer- 
 sity of Michigan. Director of Works. The 
 laying out and construction of the buildings 
 and grounds outside of the California Quad- 
 rangle. 
 
 (Architect) New York. Born at Pomfort, ' 
 Connecticut, 1869. Studied at home and 
 abroad. Supervising and Consulting Architect 
 of the Exposition. The California Quadrangle. 
 
 (Landscape Engineer) San Diego. Born in 
 Scotland. Superintendent of Parks. 
 
 (Landscape Architect) Brookline, Massa- 
 chusetts. Born at Geneva, Switzerland, of 
 American parents, 1852. Studied at Yale and 
 with Frederic Law Olmsted. Consulting 
 Landscape Architect. 
 
 (Sculptor) New York. Born in Massa, Italy, 
 1868. Studied abroad. The sculptural archi- 
 tectural decorations of the Exposition in collab- 
 oration with his brothers. 
 
 (Sculptor) New York. Born in Massa, Italy, 
 1866. Studied abroad. 
 
 (Sculptor) New York. Born in Massa, Italy, 
 1876. Studied in the United States. 
 
 (Sculptor) New York. Born in Massa, Italy, 
 1878. Studied in the United States. 
 
 (Sculptor) New York. Born in Massa, Italy, 
 1880. Studied in the United States. 
 
 (Musician and Composer) San Diego. Bom 
 London, 1856. Studied abroad. Exposition 
 Organist. 
 
 (Architect) San Diego. Born Damariscotta, 
 Maine, 1876. Studied abroad. Resident 
 Architect representing Mr. Goodhue. Super- 
 intendent of Construction of the California 
 Quadrangle. 
 
 [79] 
 

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