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Copyright, 1901, by Doubleday, Page & Co.

Photographed by A. R. Dugmore THE COURT OF FOUNTAINS IN ILLUMINATION (looking South)

look down the long court of buildings in the effects, statuary, color and horticultural and soft glow, the colors are more beautiful than floral adornment. The freedom from precethey are by sunlight. Nor do you forget that dent with which they have worked is remarkthe chromatic note of green which comes out

able. everywhere is the green of Niagara, and that It is important first to understand clearly the beautiful world of light is the illuminating the ground plan and the general architectural power of the great cataract.

If you could

scheme; for the Exposition has been built and forget this fact, there is just enough noise of ought to be studied as a unit. It is as a fountains to remind you of it, and symbolical single spectacle that it makes its deepest imrepresentations of the falls in sculpture greet pression. A visitor would do well, whatever you as you gaze at the tower. It is the Great gate he enters, to go first to the statue of Cataract silently expressing its power in a

Washington, which is at the southern end of soft, fairy-like, nocturnal, outdoor scene of wonderful illumination. This spectacle is all the more worth seeing because no satisfactory notion either of the color or of the illumination can be conveyed by picture or by description. It must be seen or it will be missed.

It gives an impression that one is likely to carry always in one's memory. And it is this nocturnal spectacle that is the peculiar triumph of the Exposition.

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Photographed by A. W. Simon GENERAL W. T. SHERMAN

By Augustus St Gaudens

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Copyright, 1901, by Doubleday, Page & Co.

THE TEMPLE OF MUSIC AT NIGHT

the grounds. From this statue an avenue Bridge. Outside these courts lie many buildleads over the Triumphal Bridge into the ings and the greater part of the area covered main court and to the Electric Tower.

by the Exposition. But it were better at first Starting at the statue of Washington, the to ignore these; for standing anywhere in the avenue leads northward up a gentle incline, court the buildings outside it are properly between rows of columns and between the four shut from view. You are aware only of this great towers of the bridge. These towers are one spectacle, and all the buildings and all crowned with equestrian figures of a standard their accessories—lakes, fountains, statuary, bearer, and are ornamented with symbolical colonnades—are a unit. They have been treated groups of statuary. One great pillar by its as a unit by engineers, architects, sculptors, sculpture and its inscription stands for Patriot- decorators, electricians. ism, another for Liberty, and so on.

And it is necessary to realize how large this The canal on either side of the bridge broad area is which has had this unified treatment. ens into a lake, and symbolical figures of great The space in the Court of Honor at Chicago beauty by Mr. Martiny represent the Atlantic was 563,000 square feet; the court area at Ocean and the Pacific Ocean. By this approach over the bridge to the main court a single view takes in the whole scene, and the unity and simplicity of the ground plan become obvious. There is one long court running from south to north from the Triumphal Bridge to the Electric Tower.

With its approach, and with the plaza behind the tower, this court is very much longer than the central court of any preceding exposition. Its width admits the lakes and fountains in the centre, and broad ways on either side, which give the buildings and the tower room enough for effective display.

The transverse court (east and west) intersects the main court just north of the bridge. Their intersection makes the great area of the esplanade, which will hold a quarter of a million spectators. The transverse courts end in curved groups of buildings, the Government group on the east, and on the west the buildings given to Horticulture, Mines and the Graphic Arts; and at each curved end of this transverse court are a lake, a sunken garden and groups of statuary.

THE ELECTRIC TOWER, LOOKING ACROSS THE PLAZA Along the main court towards the tower

The gateway on the left, the tower of a restaurant building on are the six other principal buildings—first

the right the two octagonal domed buildings, the Temple of Music, and facing it the Ethnology Paris was 720,000; and the court space at building; then facing each other across the Buffalo is 1,400,000—nearly three times as main court, the building for Machinery and great as the Court of Honor at Chicago. By Manufactures and the Liberal Arts building; daylight it seems smaller than it is; and by next the Electricity building, and facing it the electric light it seems very much larger. the Agricultural building. The great Electric A connection is made between the buildings Tower stands in the space between these. in ways that add wonderfully to the beauty of Beyond and on either side are restaurant

the whole group.

Starting again at the buildings, and back of all the great gates and bridge, and going northward on the right side the connecting colonnade.

(east) a colonnade, a long row of highly This is the general plan. And you can see colored columns supporting a roof (the perit all from one point in front of the Triumphal gola) makes a curved passage to the first

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