EXPOSITION, THE PAN-AMERICAN. 



215 



great pediments of the north and south entrances. 

 The yellow of the Electricity Building is relieved 

 by gray trimmings and green doorways, which 

 are elaborately enriched in their ornamentation by 

 delicate shades of the prevailing tones used 

 throughout the exposition. The Agricultural 

 Building is warmer, and there are blue, yellow, 



THE COURT OF FOUNTAINS. 



and ivory, and stronger notes of red and green 

 in the entrances. The restaurants are ivory and 

 French gray. The sashes and doors are painted 

 green, and the minarets and pinnacles are tipped 

 with gold. The Propylsea, which curves across 

 the north end of the grounds, has a wide-open 

 arcade, the panels of which are enriched with 

 brilliant red, where white statues are placed, while 

 the panels above are a bright yellow. The ceilings 

 are blue, and the trellis above is made a strong 

 violet hue. Violet occurs again at the entrances 

 from the railway station through the great arch. 

 The Railway Transportation Building is in a 

 French gray, with green roof and ivory and gold 

 trimmings, while the Stadium, one of the most 

 imposing buildings of the exposition, will be a 

 light ivory-gray, with pale blue-green sashes and 

 doors. The tower is a very light ivory, and is en- 

 riched in the capitals, brackets, finials, stars, pin- 

 nacles, etc., with gold, and is crowned with a 

 gilded figure of the Goddess of Light. The panels 

 have the brightest fresh blue-green we could make, 

 and are intended to suggest the water as it curves 

 over the crest at Niagara." 



Considering the buildings more in detail, and 

 beginning at the north entrance, we reach, first, 

 the 



Electric Tower, which was designed by John 

 G. Howard, and was 375 feet high. The main 

 body of the tower was 80 feet square and 200 

 feet high. The crown was in three parts, of di- 

 minishing proportions, the first of these being an 

 arcaded loggia having wall surfaces brilliantly 

 colored and richly ornamented in all details. 

 Pavilionettes adorned each of the four corners 

 and terminated in light, fantastic cupolas. Above 

 the loggia was a high circular colonnade, entirely 

 open, so as to allow the effect of the sky to be 

 seen between the columns. A spiral stairway in 

 the center led up to a domed cupola, on which 

 was poised a figure, 16 feet high, designed by 

 Herbert Adams and known as the Goddess of 

 Light, which overlooked the entire exposition. 

 At the base of the tower, and on the sides, were 

 two colonnades, 75 feet high, which swept south- 

 ward, forming a large semicircular space, open- 

 ing toward the Court of Fountains. In the niches 

 of these wings, running from west to east, were 

 groups of statuary, representing Lake Michigan, 

 by Louis A. Gudebrod; Lake Superior, by Philip 

 Matiny; Lake Ontario, by Ralph Goddard; Lake 

 St. Clair, by Henry Baerer; Lake Huron, by Philip 

 Martiny; and Lake Erie, by Carl E. Tefft. The 

 spandrels of the niche in the south face of the 



tower and the smaller ones above l.he ardi of en- 

 trance on the north side were m<,<!. i. <i !,y Adolph 

 A. Weinman, under the direction Hitter. 



They represented the four rivers ;1 , |', u f. 



talo, St. Lawrence, and St. Clair. I hi k"v-,tones 

 of these arches were modeled by !h' , ; ,,' -i nip- 

 tor. The groups ornamenting the pylon-, m the 

 south side adjoining the water niche were mo 

 by George Gray Barnard, and typified The < . t. 

 Waters in the Time of the Indian and The Cn-at, 

 Waters in the Time of the White Man. The 

 frieze, with children, garlands of fruit, and eagles, 

 beneath the loggia at the top of the shaft, "was 

 executed by Karl Bitter, director of sculpture. 



Agriculture Building. This structure, east of 

 the Electric Tower, was designed by George F. 

 Shepley, and was 150 feet in length, facing the 

 Court of Fountains, while the principal front, 500 

 feet in length, was on the Mall. The chief en- 

 trance was on this side, facing the Manufactures 

 and Liberal Arts Building. Around this entrance 

 was the greatest amount of enrichment, it being 

 decorated with designs of fruits, vegetables, and 

 flowers, expressing the character of the building, 

 while large corbels were in the form of heads of 

 animals of the field. A similar idea was shown 

 in the decorations of the cornice. On the south 

 side of the building, overlooking the Mall, was 

 a loggia, formed of arches resting on single col- 

 umns, with a ceiling of groined vaulting. The 

 general treatment of the exterior was in the Span- 

 ish Renaissance. 



Manufactures and Liberal Arts Building. 

 This building, designed by George F. Shepley, was 

 southeast of the Court of Fountains, and sepa- 

 rated from the Agriculture Building by the Mall. 

 It occupied a space 350 by 500 feet, with a court- 

 yard in the center, which was 132 by 170 feet, and 

 was surrounded by a portico about 15 feet wide, 

 with openings through semicircular arches, sup- 

 ported by square pillars. On the front of the 

 building, between the arches, were the seals of the 

 governments of the various South American re- 

 publics, while over the entrance was a group of 

 statuary typifying the arts and manufactures, 

 designed by Bela Pratt. The building was entered 

 from the middle of all four sides, and also from 

 the pavilions on the corners. The south or upper 

 front of the building faced the Court of Cypresses, 

 and in the center of the front was the principal 

 feature of the building, a great dome rising to a 

 height of 130 feet, surrounded by four towers. 



Electricity Building. On the other side of the 

 Electric Tower, opposite the Agriculture Building, 

 was the Electricity Building, designed by Green 

 & Wicks. It was 500 feet long from east to 

 west, and 150 feet wide, covering 75,000 square 

 feet. This building followed the Spanish-mission 

 style of architecture, with Renaissance features. 

 The entrances in the northern and southern fa- 

 gades consisted of arches between tall towers, 

 while the towers carried ornamental cupolas. 

 Surmounting the four corner towers were domed 

 pavilions, and the spaces between the towers were 

 embellished with colonnades and grilled windows. 

 The roofs had broad, overhanging eaves, and the 

 total height of the building was 160 feet. 



Machinery and Transportation. This building 

 was directly south of the Electricity Building, and 

 was on the west side of the Court of Fountains. 

 It was designed by Green & Wicks, who fol- 

 lowed the Spanish-American Renaissance style of 

 architecture. Its dimensions were 500 feet from 

 east to west, and 300 feet from north to south. 

 The main entrances on the north and south fagade 

 were flanked on either side by tall towers having 

 open lanterns and an intricate detail of plastic 



