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Government building. The group of Govern

PREDOMINANCE OF THE SPECTACULAR ment buildings makes a curved end of the T the generous

way east and west court, and in front of it are a which the beautiful spectacular effects have lake and fountains and groups of statuary. been provided that gives this Exposition dis

The octagonal domed Ethnology building tinction over every preceding one. Those who stands at the eastern corner of the two courts recall the Centennial at Philadelphia in 1876 as a sort of pillar. Beyond it and connecting will recall also the absence of any spectacle. it with the Liberal Arts building is a screen It was the note of instruction that the of columns with a garden behind it. Between builders and managers of that fair struck, but the Liberal Arts building and the Agricultural not the note of beauty. But at Chicago in building is the sunken garden of the Mall, 1893 the Court of Honor was a thing of such which seems to connect the two build beauty that nobody who saw it will ever forget ings on either side rather than to separate it, and since then the spectacular part of every them. The restaurant building which comes fair has had emphasis. It is hardly too much next extends to the propylæa. The colon to say that it is likely to overshadow every nade extends in a graceful curve behind other aspect of the Buffalo fair. The decothe tower. The buildings on the other (the rative effect is heightened even by the shrubs west) side are connected in the same way.

and trees and flowers. There is green everyNow it is this group of buildings and their where that it is possible to have it, and there accessories that make the spectacle. The is a succession of very beautiful floral effects most noteworthy aspects of it are, of course, which will please the visitor all summer long. the landscape, the architecture, the color and Wherever trees could add pleasure to the view the illumination.

they have been placed, either in the soil or in

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Copyright, 1901, by C. D. Arnold NORTH WARD VIEW OF THE ELECTRIC TOWER OVER THE TRIUMPHAL BRIDGE

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huge tubes, and lawns make green all un the Central and South American suggestion, trodden places.

and permitted a free play to the individual Organ recitals in the Temple of Music and architects; and the general festal result that outdoor music by bands, three at a time, indi- they aimed at has been achieved with great cate the determination to let every art con success. After you pass the bridge you find tribute its full share to the people's enjoyment. nothing severe, nothing that is even stately in Thus it has come to pass that the idea of “a the architecture, except the Electric Tower. good show” has been developed to the utmost. Every building is suggestive of a holiday and If there were no exhibits inside the buildings, of a play-place. Such a style lends itself, too, the exterior views would make the Exposition best to brilliant results in color and illuminanoteworthy.

tion. The greatest possible effects have been

achieved in playfulness and in variety—not at THE ARCHITECTURE

the expense of a proper dignity; but there is *HE architects, carrying out the same pur- nothing of the severely classic or monumental

pose to make a worthy spectacle having effects that were worked out in the Court of both unity and beauty, undertook the task not of Honor at Chicago. The result is panoramic, building an exposition, but of building a Pan- festal, even gay. And the general arrangeAmerican Exposition. The buildings must ment is good—the scheme that includes the express the nature and the purpose of this landscape work. The avenue approaches the particular enterprise. They naturally chose bridge at a gentle incline; when you have a Spanish Renaissance style, which fit in with crossed the bridge you see straight before

THE

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Copyright, 1901, by Doubleday, Page & Co.

Photographed by A, R. Dugmore THE HORTICULTURAL BUILDING, BY ELECTRIC LIGHT

The Fountain of Nature in front

you the great court, the Electric Tower, which

up to the great tower, witn its severer form is the climax of it, standing directly before and its more refined colors. you near the other end, with the curved It is no part of this general description to screen behind it; and at either side are the analyze the separate buildings, but most percurved transverse courts with their sunken sons will agree that Mr. Stearns's Horgardens and fountains. The main court is ticultural building is both in its architecture wide enough to give the buildings a good set- and its ornamentation one of the most sucting, and the two octagonal domed structures cessful of the whole group. It has a lantern at the corners (the Temple of Music and the roof and four towers (domes) at the corners ; Ethnology building) emphasize the junction of the roof is of red tile, and the doorways and the two courts. The clusters of towers and columns are beautifully and most luxuriously the succession of domes, and especially the ornamented. colonnades, give a chance for a luxuriance of This luxuriance becomes floridity in the color and ornament that carry the gaiety of Temple of Music, because both of the color the whole scene to a height never before and of Mr. Konti's reliefs and statues,

Its reached in an architectural effort on our con excessive ornamentation and coloring give tinent. In the general spectacle there is no offense to those whose only measure of beauty suggestion of machinery and merchandise. is the rigid classical measure. The Electricity In fact, the buildings have been criticised for building, too, is admirably planned and exthis very reason; for floor space has been ecuted and ornamented. It is one of the sacrificed to colonnades and porticos.

most impressive and pleasing of the whole In the architecture, as in everything else, it group. is the total effect that is most impressive. But the architectural crown of all is The court is one large scene, so set as to lead Mr. J. G. Howard's Electric Tower. The

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Copyright, 1901, by C. D. Arnold THE ELECTRIC TOWER AND THE FOUNTAIN OF ABUNDANCE

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