the city of domes-第10节

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't　have　any　such　idea　in　her　mind。　What　she　probably　wanted　to　do　was　to　present　an　imaginative　scene　that　each　observer　could　interpret　for　himself。　These　two　Egyptian…looking　guardians　at　the　doors；　with　the　figures　kneeling　by　them；　suggest　plainly　enough　the　futility　that　goes　with　so　much　of　our　struggling　in　the　world。　So　often　people　reach　the　edge　of　their　goal　without　really　getting　what　they　want。〃



V

The　Court　of　the　Universe



Through　the　arch　we　passed　into　the　neck　of　the　Court　of　the　Universe；　which　charmed　us　by　the　warmth　of　its　coloring；　by　McLaren's　treatment　of　the　sunken　garden；　by　its　shape；　by　the　use　of　the　dark　pointed　cypress　trees　against　the　walls；　and　by　the　sweep　of　view　across　the　great　court　to　the　Marina；　broken；　however；　by　the　picturesque　and　inharmonious　Arabic　bandstand。　We　glanced　at　the　inscriptions　at　the　base　of　the　tower　carrying　on　the　history　of　the　Canal　to　its　completion。　Then　we　stopped　before　those　graceful　little　elephants　bearing　Guerin's　tall　poles　with　their　streamers。　〃That　little　fellow　is　a　gem　in　his　way。　He　comes　from　Rome。　But　the　heavy　pole　on　his　back　is　almost　too　much　for　him。　He's　used　pretty　often　on　the　grounds；　but　not　too　often。　After　the　Exposition　is　over　we　ought　to　keep　these　figures　for　the　Civic　Center。　They　would　be　very　ornamental　in　the　heart　of　the　city。〃

As　we　walked　toward　the　main　court；　the　architect　called　my　attention　to　the　view　between　the　columns　on　the　other　side　of　the　Tower　of　Jewels；　with　the　houses　of　the　city　running　down　the　hills。　〃San　Francisco　architecture　may　not　be　beautiful　when　you　study　individual　houses。　But　in　mass　it　is　fine。　And；　of　a　late　afternoon；　it　is　particularly　good　in　coloring。　It　seems　to　be　enveloped　in　a　rich　purple　haze。　That　color　might　have　given　the　mural　decorators　a　hint。　It　would　have　been　effective　in　the　midst　of　all　this　high…keyed　architecture。　It's　easy　here　to　imagine　that　you're　in　one　of　those　ancient　Hindu　towns　where　the　gates　are　closed　at　night。　You　almost　expect　to　see　camels　and　elephants。〃

What　was　most　striking　in　the　Court　was　its　immensity。　〃Though　it　comes　from　Bernini's　entrance　court　to　St。　Peter's　in　Rome；　it　is　much　bigger。　There　are　those　who　think　it's　too　big。　But　it　justifies　itself　by　its　splendor。　The　use　of　the　double　row　of　columns　is　particularly　happy。　The　double　columns　were　greatly　favored　by　the　Romans。　In　St。　Peter's　Bernini　used　four　in　a　row。　And　what　could　be　finer　than　those　two　triumphal　arches　on　either　side；　the　Arch　of　the　Rising　Sun　and　the　Arch　of　the　Setting　Sun；　with　their　double　use　of　symbolism；　in　suggesting　the　close　relation　between　California　and　the　Orient；　as　well　as　their　geographical　meaning？　They　are；　of　course；　importations　from　Rome；　the　Arch　of　Constantine　and　the　Arch　of　Titus　all　over　again；　with　a　rather　daring　use　of　windows　with　colored　lattices　to　give　them　lightness　and　with　colossal　groups　of　almost　startling　proportions　used　in　place　of　the　Roman　chariot　or　quadriga。〃

Originally；　the　intention　had　been　to　use　here　the　name　of　the　Court　of　Sun　and　Stars。　Then　it　was　changed　to　the　Court　of　Honor；　and　finally　to　its　present　name；　to　suggest　the　international　character　of　the　Exposition。

Those　two　groups　represented　by　far　the　most　ambitious　work　done　by　the　sculpture　department。　From　designs　by　Calder；　they　were　made　by　three　sculptors；　Calder；　Roth　and　Lentelli。　They　presented　problems　that　must　have　been　both　difficult　and　interesting　to　work　out。　First；　they　had　to　balance　each　other。　What　figure　in　the　Pioneer　group　could　balance　the　elephant　that　typified　the　Orient？　Calder　had　the　idea　of　using　the　prairie　schooner；　associated　with　the　coming　of　the　pioneers　to　California；　drawn　by　great　oxen。

The　Oriental　group　doubtless　shaped　itself　in　picturesque　outlines　much　more　quickly　than　the　sturdy；　but　more　homely　Americans　of　the　earlier　period。　The　Orientals　displayed　an　Indian　prince　on　the　ornamented　seat；　and　the　Spirit　of　the　East　in　the　howdah；　of　his　elephant；　an　Arab　shiek　on　his　Arabian　horse；　a　negro　slave　bearing　fruit　on　his　head；　an　Egyptian　on　a　camel　carrying　a　Mohammedan　standard；　an　Arab　falconer　with　a　bird；　a　Buddhist　priest；　or　Lama；　from　Thibet；　bearing　his　symbol　of　authority；　a　Mohammedan　with　his　crescent；　a　second　negro　slave　and　a　Mongolian　on　horseback。

The　Nations　of　the　West　were　grouped　around　that　prairie　wagon；　drawn　by　two　oxen。　In　the　center　stood　the　Mother　of　Tomorrow　a　typical　American　girl；　roughly　dressed；　but　with　character　as　well　as　beauty　in　her　face　and　figure。　On　top　of　the　wagon　knelt　the　symbolic　figure　of　〃Enterprise；〃　with　a　white　boy　on　one　side　and　a　colored　boy　on　the　other；　〃Heroes　of　Tomorrow。〃　On　the　other　side　of　the　wagon　stood　typical　figures；　the　French…Canadian　trapper；　the　Alaska　woman；　bearing　totem　poles　on　her　back；　the　American　of　Latin　descent　on　his　horse；　bearing　a　standard；　a　German；　an　Italian；　an　American　of　English　descent；　a　squaw　with　a　papoose；　and　an　Indian　chief　on　his　pony。　The　wagon　was　modelled　on　top　of　the　arch。　It　was　too　large　and　bulky　to　be　easily　raised　to　that　great　height。

The　architect　was　impressed　by　the　boldness　of　the　designs　and　to　the　spirit　that　had　been　put　into　them。　〃It's　very　seldom　in　the　history　of　art　that　sculptors　have　had　a　chance　to　do　decorative　work　on　so　big　a　scale。　It　must　have　been　a　hard　job；　getting　the　figures　up　there　in　pieces　and　putting　them　together。　Some　of　the　workers　came　near　being　blown　off。　Some　of　them　lost　their　nerve　and　quit。　I　wonder；　by　the　way；　if　that　angel　on　top　of　the　prairie　wagon　would　be　there　if　Saint　Gaudens　hadn't　put　an　angel　in　his　Sherman　statue；　and　if　he　hadn't　made　an　angel　float　over　the　negro　soldiers　in　his　Robert　Gould　Shaw　monument　in　Boston。　He　liked　that　kind　of　symbolism。　He　must　have　got　it　from　the　mediaeval　sculptors　who　worked　under　the　inspiration　of　the　Catholic　Church。〃

Varying　notes　we　found　around　the　American　group。　Cleopatra's　needle；　used　for　ornamentation；　suggested　Egypt　and　the　Nile。　That　crenellated　parapet　once　belonged　to　military　architecture：　between　those　pieces　that　stood　up；　the　merlons；　in　the　embrasure；　the　Greek　and　Roman　archers　shot　their　arrows　at　the　enemy　and　darted　back　behind　the　merlons　for　protection。　In　spite　of　its　being　purely　ornamental　it　told　its　story　just　the　same；　and　it　expressed　the　spirit　that　still　persisted　in　mankind。　Nowadays　it　was　even　used　on　churches。　But　religion　and　war　had　always　been　associated。　Besides；　in　an　International　Exposition　it　was　to　be　expected　that　the　art　should　be　international。　How　many　people；　when　they　looked　at　Cleopatra's　needle；　knew　how　closely　it　was　related　to　the　newspapers　and　historical　records　of　today？　The　Egyptians　used　to　write　on　these　monuments　news　and　opinions　of　public　affairs。　The　Romans　had　a　similar　custom　in　connection　with　their　columns。　On　the　column　of　Trajan　they　not　only　wrote　of　their　victories；　but　they　pictured　victorious　scenes　in　stone。

The　little　sprite　that　ran　along　the　upper　edge　of　the　court　in　a　row；　the　star…figure；　impressed　me　as　making　an　unfortunate　contrast　with　the　stern　angel；　repeated　in　front　of　each　of　the　two　arches。　My　criticism　brought　out　the　reply　that　it　was　beautiful　in　itself　and　had　its　place　up　there。　〃These　accidental　effects　of　association　are　sometimes　good　and　sometimes　they're　not。　Here　I　can't　see　that　they　make　a　jarring　effect。　In　the　first　place；　a　Court　of　the　Universe　ought　to　express　something　of　the　incongruity　in　our　life。　Ideally；　of　course；　it　isn't　good　in　art　to　represent　a　figure　in　a　position　that　it's　hard　to　maintain　without　discomfort。　But　here　the　outlines　are　purely　decorative　and　don't　suggest　strain。　In　my　judgment　that　figure　is　one　of　the　greatest　ornaments　in　the　court。　It　gives　just　the　right　note。〃

The　two　fountains　in　the　center　of　the　sunken　garden　were　gaily　throwing　their　spray　into　the　air。　The　boldness　of　the　Tritons　at　the　base　represented　a　very　different　kind　of　handling　from　the　delicacy　of　the　figure　at　the　top　of　each；　the　Evening　Sun　and　the　Rising　Sun；　both　executed　with　poetic　feeling。　In　the　Rising　Sun；　Weinmann　had　succeeded　in　putting　into　the　figure　of　the　youth　life；　motion　and　joy。　Looking　at　that　figure；　just　ready　to　spread　its　wings；　one　felt　as　if　it　were　really　about　to　sweep　into　the　air。　Though　the　Evening　Sun　might　be　less　dramatic；　it　was　just　as　fine。　〃It　isn't　often　that　you　see　sculpture　of　such　imaginative　quality；〃　said　the　architect。

Those　great　symbolic　figures　by　Robert　Aitken；　at　once　giving　a　reminder　of　Michael　Angelo；　impressed　me　as　being　perfectly　adapted　to　the　Court；　and　to　their　subjects；　Earth；　Air；　Fire；　and　Water。　But　my　companion　thought　they　were　too　big。　He　agreed；　however；　that　they　were　both　original　and　strong。　There　was　cleverness　in　making　the　salamander；　with　his　fiery　breath　and　his　sting；　ready　to　attack　a　Greek　warrior；　symbolize　fire。　Under　the　winged　girl　representing　air　there　was　a　humorous　reference　to　man's　early　efforts　to　fly　in　the　use　of　the　quaint　little　figure　of　Icarus。　Water　and　earth　were　more　conventional；　but　worked　out　with　splendid　vigor；　the　two　figures　under　earth　suggesting　the　competitive　struggl