The Jewel City

outh

nts-Food for pirates-Ancient and blue-blooded forest dwarfs-The Horticultural Gardens-Hous

the gardens and the structures in them are less notable for sculpture than the central courts of the Exposition. Most of the plastic work here is purely decorative. The gardens are formal, French in style, laid out with long rect

ople, its Gallic decorations have made it essentially French in spirit. The ornamentation of this palace is the most florid of any building in the Exposition proper. Yet this opulence is not inappropriate.

ry out the idea of profuse abundance. The great dome, larger than the dome of either St. Peter's at Rome or the Pantheon at Paris, is itself an overturned fruit basket, with a second latticed basket on its top. The conception of profusion becomes almo

iously, it photographs better than any other building here, save the Fine Arts Palace, but in actual view it hardly lives up to the pictures. Perhaps this is because the comparatively small porti

le, is massed a splendid exhibit of those island trees and flowers that most of us know only through pictures and stories of southern seas. Around the central source of light, which is hidden under tro

, with the fruits hanging among the fronds, waiting for the legendary monkey to scamper up the trunk and hurl the great balls at the heads of the beholders. Here, too, are the mango, and many sorts of bananas, and the cabbage palm, another favorite res

botanists. They are among the slowest growing of living things, and neither of them is much taller than a man. They were seedlings when Alfred the Great ruled E

nchanged from the steaming days of the Carboniferous period, when ferns grew one hundred feet high, and thronged with other rank tropical growths in matted masses to form t

iegated leaves, giant gardenias and tropical lilies. When these bloom, the air o

ere planted for competitive exhibition purposes, they will not show the constant beauty that appears in the South Gardens. He

rt and architecture by Bernard Maybeck. Here again is poetry in architecture, of a different order from the noble theme of Maybeck's Fine Arts Palace, but none the less poetry. This is a sylvan idyll, telling of

hough almost hidden away against the south wall. It is worth pondering over. No one may want to build a

design which furnished the dome necessary to harmonize with that of the palace to the west. As architecture, however, it fails to hold up its end with the splendid Horticultural Palace. Its dome is too large, and has too little stru

us! On the left a woman is listening to the strains of festal music. (p. 32.) Each of the pedestals before the false windows at the ends of the arcade supports a figure of Flora with garlands of flowers. On the ground below the two Floras are two of the most delightful pieces of all the Exposition sculpture. One is a little

sential quality of a fine instrument, it is hard to ignore the real immensity of this. The echo organ alone is larger than most pipe organs. This complementary instrument, which is played from th

y a tremendous quaking of the whole building, as though the earth were shuddering. By itself it has no place in organ music. It is not intended to be struck alone.

al limit in a pipe organ is the sixteen-foot open stop. But in this organ there

he Press Building and the Exposition home of the National Young Women's Christia

iven to the south facade of the palace group. There is the air of Versailles in the planned gayety of the scene. In this t