Canada -- Description and travel; Canadian poetry -- History and criticism
The grounds comprised over 600 acres, with a water-front of two and a
half miles, on San Francisco Bay, just east of the Golden Gate. On
the other three sides they were partly enclosed by hills, thus
forming a natural amphitheatre. There were eleven colossal palaces
with many lesser buildings. These palaces were grouped in a series
of rectangles connected by courts and arcades with an Andalusian
charm. The courts fascinated the eye by their colonnades, arches,
domes, and glittering minarets. They were adorned by mural paintings
of symbolic significance, by fountains, sunken gardens, and
sculptured art, with niches and restful seats. Festival Hall, with
its superb organ, where a concert was held every day, contained an
auditorium seating three thousand people, and there were also ten
smaller halls. The National Government staged its own special
exhibit on a ten-acre space, appropriating two million dollars for
this purpose, and this exhibit included a representation of the
building of the Panama Canal.
In all this imposing world-panorama of twentieth-century exhibits,
Canada led the procession. Whatever the enthralling nature of
spectacles offered by other nations, it was the Dominion that set the
pace. Canada, an entrancing, garlanded figure, {234} aglow with her
abounding enthusiasms; her resistless energy; her dreams of a future
that crystallise themselves in her all-conquering empire
building--Canada the Spellbinder assumed her place as if by divine
right, and certainly by common consent, as the very Winged Victory
flying on into a golden future. The Canadian Building, whose classic
beauty would have done no discredit to the Parthenon had it also
occupied a place on the "Holy Hill" that overlooks all Attica; this
structure, so simple yet so rich in architectural effect, her main
portal guarded by great lions sculptured on either side, was one of
the most impressive creations of the entire Exposition. With a
singular comprehensiveness of grouping, the exhibits in this building
represented the Dominion in her completeness. It was no one province
that engaged the attention to the exclusion of another; it was the
Dominion herself, in the unity of her vast empire, rather than any
merely tributary feature of the country. In the inscrutable magic
that wrought this effect lay the secret of its spellbinding quality.
It was a power that enthralled every visitor who crossed the
threshold, and brought him back to study it again.
Public-domain text, read in full here on John Shaqi.
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