Figures on tall Sienna marble columns, "Power," "by Haig Patigian.
"Steam Power," with lever."Invention," carrying figure with flying wings, suggesting quickness of mind."Imagination, eyes closed.Eagle bird of inspiration, about to fly."Electricity," foot on earth, carrying symbol.
Eagles repeated on bar, the entablature, across front of domes; symbol of inspiration.
Coloring in vestibule of Machinery Palace: Finely harmonized; brown and brick-colored walls; orange and blue ceilings; green lattice work.
"Genius of Creation," group before court leading to Court of Ages, Daniel Chester French.Spirit above, a woman, creating life from shapeless mass of earth below.Man at left, courageous and enterprising;woman at right, timid, hesitating.Serpent, symbol of wisdom, coiled about mass.
Court of Mines, Leading to Court of AgesColoring, pink walls, pink streamers, by Guerin.Green shell lamp posts, by McKim, Mead & White, architects.Called "Pink Alley" by workmen during construction.
Palaces on sides of court: to the north, Mines; to the south, Varied Industries.
Lamp standards against walls, dark bronze, smoked ivory globes, by Faville.
Flat Ionic columns, called pilasters, against walls, by Faville.
Figure in niches, "The Miner," by Albert Weinert.
Court of the AgesCourt of Ages, Louis Christian Mullgardt, of San Francisco, architect.
Most original of the courts.Faint influence of Spanish Gothic, Romanesque, French, Moorish.Richness and profusion.Suggests evolution of man.
Palaces around court: northeast, Mines; northwest, Transportation;southwest, Manufactures; southeast, Varied Industries, Decorations on columns of archways around court, kelp, crabs, lobsters, and other sea animals.Vertical lines in columns suggest falling water.
Fairy lamps, two in each archway, delicately designed.
"Primitive Man and Woman," by Albert Weinert, repeated alternately above corridors around court.Man, a hunter, feeding pelican.Woman, the child-bearer.
Tower at north entrance, suggestive of French cathedral architecture, massive, but gives appearance of lightness.One of the great successes of the Exposition.
"The Rise of Civilization," groups of sculpture on tower, by Chester Beach.Central idea, evolution, Stone Age, Mediaeval Age, and Present Age."Primitive Man," lowest group, just above great reptiles in foreground.Man is holding child and protecting mate."Mediaeval Age"directly above, Crusader in center, Priest and Warrior on sides.The candlesticks on sides of crusader, used in mediaeval churches, the light of understanding.On sides of altar, "Modern Man and Woman," struggling for freedom from the physical to the spiritual."Spirit of Intelligence"enthroned above; on one side, child with book; on the other side, child with wheel of industry.
Chanticleer, repeated on highest pinnacles of court, at level with altar.Signifying dawn of Christianity.
"Thought," figure on east and west sides of tower.Candlesticks at sides.
Design on upper part of tower, suggested by the lily, emblem of purity.
Star clusters, at south end of court and in north court, by Ryan, modeled from snow crystal, and deepening the ecclesiastical character of the court by suggesting the golden monstrance, shaped like the rays of the sun, used in the Catholic church and, in the small glass-covered circle at the center, holding the sacred host.
"Water Sprites," by Leo Lentelli.Girl archers on top of columns at four corners of central court, launching arrow at sprites on base of columns.
Originally designed as fountains.
Serpent cauldrons, around pool, designed by Mullgardt.
"Fountain of the Earth," by Robert Aitken, in center of court.Two Parts to fountain; large central one with globe representing earth, surrounded by panels showing life on earth; and on same pedestal to south, groups representing life before and after death."Setting Sun," group at extreme south of pool, by Aitken.Man holding golden ball, Helios;serpent, heat of sun.
Figures on west side of southern group, "The Dawn of Life." Hand of Destiny giving life, pointing toward earth; Sleep of Woman before Birth;the Awakening; Joy of Life; Kiss of Life; Birth.Gap to central group represents time between peopling and history.
Panels around earth; South Panel; Vanity in center with handglass; man and woman with children, representing Fecundity, starting on earthly journey.
West Panel: "Natural Selection;" women turn to fittest male; one rejected suitor angry, other despairing.
North Panel: "Physical Courage" or "Awakening of War Spirit." Two men fight for possession of woman on left.Woman on right attempts to draw one aside.
East Panel: "Lesson of Life." Old woman gives counsel to young man and woman.Old man restrains an angry, jealous youth.
Right of south panel, "Lust."
East side of southern group: Greed, looking back on earth.Faith offering Immortality, symbolized by scarab, to Woman.Figures of man and woman sinking back into oblivion, "Sorrow" and "Sleep." Hand of Destiny drawing mortality to itself.
Hermae, pillars with head of Hermes, god of boundaries, separating panels around earth.
Reptilian and fishy forms above panels of central mass of fountain.
Corridors, walls red, blue vault above, arches of smoked ivory, lines of blue on wall.Illumination by half-globes in cups on inner side of columns.
Murals, by Frank Brangwyn, of London, representing Elements.Best placed of all murals.At corners of court in corridors.
Northeast corner, "Fire." "Primitive Fire," figures around fire nursing it, or feeding it."Industrial Fire," use of fire in service of man.
