So they were sprayed with a liquid celluloid to soften them into their present ivory hue。 The change shows how important detail is； and how carefully Guerin's department has worked。 While the construction was going on there was one remark that often used to be heard； 'It will never be noticed；' and a most foolish remark it was。 It showed that the people who made it were lacking in imagination。 Millions of eyes have been watching the details of this Exposition and very little has escaped notice。〃
A great crowd was pouring out of the afternoon concert in Festival Hall。 The architect； as he looked on； remarked： 〃It's like being in Paris； isn't it？ Or； perhaps； it's more like being in a lovely old French provincial city； where the theater is the chief architectural monument。 It's hard for me to understand why the French have encouraged that kind of architecture for their theaters and opera houses。 It seems so unrelated to sound； which ought to give the clue to the building。 The use of the word festival here is a little old…fashioned and misleading。 It doesn't mean what we usually consider festivity。 It is essentially a concert hall； and the architecture ought to suggest concentration of sound by being built in a way that shall make such concentration inevitable。 But this kind of building is obviously related to dissipation of sound。 No wonder the acoustics turned out bad and the interior had to be remodeled。〃
XII
The Half Courts
In front of the Court of Palms we stopped to admire James Earl Fraser's 〃End of the Trail；〃 the most popular group of sculpture in the Exposition。 〃It deserves all its popularity； doesn't it？ It's finely imagined and splendidly worked out。 The pony is excellent in its modeling and the Indian is wonderfully life…like。〃
At our side a man and a woman were standing； the man more than six feet tall； with broad shoulders and a face that had evidently seen a good deal of weather。 〃I've known fellers just like that Indian；〃 we heard him say； 〃up in Minnesota。 He might be a Blackfoot after a couple of days' tusselling with the wind and the rain in the mountains。 I've seen 'em come into town all beat out。 The man that made that statue knew his business。 An' I guess he knew what he was doing when he called it 'The End of the Trail。〃'
When the visitor had passed； the architect said： 〃The symbolism gets them all； doesn't it； and the realism； too？ But Fraser couldn't have expressed so much if he hadn't put a lot of heart into his 'Work。 He really felt all that the Indian represented； as a human being and as a representative of a dying race。〃
〃The Court of Palms〃 captured us both； by its shape； by the splendor of the Ionic columns； by the loveliness of its detail； by its coloring and by that charm of its sunken garden。 〃You can feel here the mind that developed those four Italian towers。 It shows the same balanced judgment； and skill and taste。 The two towers here； though they stand at either end of the court； and make a beautiful ornamentation； are really a part of the wall。 They help to give it dignity and variety。 And how artistically the palms have been used here。 They can be among the least graceful of plants； but here they are really decorative。 And those laurel trees at the side of the main doorway make fine ornamental notes。 The sculptured vases； too； are wonderfully graceful。〃
Above the doorways we found the three murals that gave further distinction to this court and enriched the coloring。 In 〃Fruits and Flowers〃 Childe Hassam had done one of his purely decorative pictures； without a story； contenting himself with graceful pictures and delicate color scheme。 Charles Holloway made 〃The Pursuit of Pleasure〃 frankly allegorical； the floating figure of the woman pursued by admiring youths。 Over the main doorway Arthur Mathews had also painted an allegory； 〃Victorious Spirit；〃 the Angel of Light； with wide…spread wings of gold； standing in the center and keeping back the spirit of materialism； represented by a fiery horse driven by his rider with brutal energy。 〃Observe how successfully Mathews has chosen his colors。 These deep purples help to bring out the splendor of those golden tones。 This canvas is unquestionably one of the best of all the murals。 It shows that in Mathews San Francisco has a man of remarkable talent； one of the great mural painters of the country。〃
On the way to the second half…court we had a chance to see the South Wall at close range； with its rich ornamented doorways； its little niches and fountains devised to make it varied and gay。 Those little elephant heads were another sign of Faville's careful attention to ornamental detail。 And the coloring gave warmth to the background； contrasting with the deep green of the planting。
At the Court of Flowers we met Solon Borglum's 〃Pioneer； too old to be typical； different from the man in lusty middle age or in youth who came to California in the early days。 But it justified itself by suggesting perhaps the greatest of the pioneers in old age； one who had grown with the community； the poet； Joaquin Miller。 〃It's Miller sure enough；〃 said the architect； 〃even if the likeness isn't close。 But why those military trappings on the horse？ Like the rest of the pioneers； Joaquin was a man of peace。〃
The Court of Flowers we thought well named； both for its planting； McLaren at his best； and for its Italian Renaissance decoration； with that pretty pergola opening out on the scene； Calder's Oriental 〃Flower Girl〃 decorating the spaces between the arches。 And those lions by Albert Laessle were a fine decorative feature。 The fountain； 〃Beauty and the Beast；〃 by Edgar Walter； of San Francisco； was one of the most original and decorative pieces of sculpture we had seen。 The figure of the girl standing on the coils of the beast was remarkably well done and the water flowing over the bowl； with the pipes of Pan glimpsed underneath； made a charming picture。 There was a whimsical and a peculiarly French suggestion in the use of the decorative hat and sandals on the nude figure。 In detail those two towers at the end were slightly different from the other two。 Like the others they served as a decoration of the wall； breaking the long lines。〃
XIII
Near Festival Hall
At close view we found the Festival Hall more interesting than it had seemed at a distance。 It unquestionably had something of the elegance associated with the best French architecture。 But； unlike most of the buildings here； it did not develop out of a central idea。 Much of its ornamentation seemed put on from the outside。
Of all the domes this dome impressed us as being the least interesting。 It did not even justify itself as being a means of giving abundant light。 〃This kind of architecture doesn't really belong in this country； but it seems to be making its way。 Observe the waste of space involved。 However； the curving arches on either side are rather charming。 And the architect has succeeded in putting into the whole structure a certain amount of sentiment。 In fact； throughout the whole Exposition you feel that the architects haven't worked merely for money or for glory。 They have appreciated the chance of doing something； out of the commonplace。〃
The sculpture by Sherry Fry was evidently executed with the idea of festivity in mind； the 〃Bacchus〃 and 〃The Reclining Woman〃 and two 〃Floras〃 decorated with flowers； and 〃Little Pan；〃 and 〃The Torch…bearer〃 reproduced above each of the smaller domes。 But； somehow； those figures did not quite indicate the real character of the building； intended for concerts and lectures and conventions； rather serious business。 The coloring； too； of the statues； was disappointing； the dull brown being out of key with the light green of the domes。
〃In the smaller concert room upstairs； Recital Hall；〃 said the architect； 〃there is some very fine stained glass； two windows； and on the landing of the north stairway there's a third window； all done by the man who has been called the Burne…Jones of America； Charles J。 Connick； of Boston。 Instead of being hidden away there； they ought to have been put in the Fine Arts Building。 They represent something new in the way of stained glass； and they have a wonderful depth and brilliancy。〃
As we drew near the Avenue of Progress we saw the magnificent doorway of the Varied Industries； overladen with ornamentation。 〃It was clever of Faville to put that doorway just in this spot where it would be seen by the crowds that entered by Fillmore Street。 It comes from the Santa Cruz Hospital； in Toledo； Spain； built by the Spanish architect； De Egas； for Cardinal Mendoza； one of the most famous portals in Europe。 The adaptation has been wonderfully done by Ralph Stackpole； with those figures of the American workman carrying a pick at either side and the semicircular panel just above the door and the group on top。 That panel is one of the finest pieces of sculpture in the Exposition。 It has tenderness and reverence。 It's the kind of thing the mediaeval sculptors who worked on religious themes would have been enthusiastic over。 See how simple it is； just a group of workers； with the emblems of their work； the women spinning with the lamb close by； the artist and the artisan； and the woman with the design of a vessel's prow in her hands； suggesting commerce。 The single figure in the center is the intelligent workman who works with his hands and knows how to work； too。 The group on top is a very pretty conception； the Old World Handing Its Burden to the Younger World； with its suggestions of the European people coming over here and raising American children。〃
XIV
The Palace of Machinery
On reaching the Avenue of Progress we found ourselves at the gayest corner of the Exposition； with two fine vistas of the two avenues。 To our right stood the massive Palace of Machinery； one of the largest buildings in the world； so successfully treated by the architect that it did not give the faintest suggestion of being cumbersome or monotonous。 〃It's the Baths of Caracalla in Rome；〃 said the architect； 〃adapted by a master。 Those three gables above the main entrance are taken directly from the baths。 See how simple the ornamentation is and yet how satisfying。 The building as a whole is a perfect