The City of Domes : a walk with an architect about the courts and palaces of the Panama-Pacific International Exposition, with a discussion of its architecture, its sculpture, its mural decorations, its coloring and its lighting, preceded by a history of its growthBarry, John D. (John Daniel)
History
The City of Domes : a walk with an architect about the courts and palaces of the Panama-Pacific International Exposition, with a discussion of its architecture, its sculpture, its mural decorations, its coloring and its lighting, preceded by a history of its growth
Barry, John D. (John Daniel)
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)
When I expressed enthusiasm over the column the architect ran his eye
past the frieze to the top. "In the first place, that dominating group
up there ought at once to express the character of the column. But it
doesn't. You have to look twice and you have to look hard. One figure
would have been more effective. But there is a prejudice among some
sculptors against placing a single figure at the head of a column,
though the Romans often did it. But if a group had to be used it could
have been made much clearer. Now in that design MacNeil celebrated the
Adventurous Archer in a way that was distinctly old-fashioned. He made
the archer a superman, pushing his way forward by force, and by the
dominance of personality. And see how comparatively insignificant he
made the supporting figures. The relation of those three people implies
an acceptation of the old ideals of the social organization. MacNeil had
a chance here to express the new spirit of today, the spirit that honors
the common man and that makes an ideal of social co-operation on terms
of equality."
At the base we studied the figures celebrating labor. "Konti is a man of
broad social understanding and sympathy," said my companion. "But
picturesque as those figures are, they're not much more. They give no
intimation of the mighty stirring among the laborers of the world, a
theme that might well inspire the sculpture of today, one of the
greatest of all human themes."
From the Column of Progress the Marina drew us over to the seawall. "The
builders were wise to leave this space open and to keep it simple. It's
as if they said: 'Ladies and gentlemen, we have done our best. But
here's Mother Nature. She can do better.' "
To our right stood Alcatraz, shaped like a battleship, with the Berkeley
hills in the distant background. To the left rose Tamalpais in a
majestic peak.
When I mentioned that there ought to be more boats out there on the bay,
a whole fleet, and some of them with colored sails, to give more
brightness, the architect shook his head.
"The scene is typically Californian. It suggests great stretches of
vacant country here in this State, waiting for the people to come from
the overcrowded East and Middle West and thrive on the land."
Public-domain text, read in full here on John Shaqi.
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