210 



EXPOSITION, THE PAN-AMERICAN. 



i.ma mentation. The entrances were all rich in 

 decorative work, and the walls were broken with 

 aivaded windows, finished with ornamental grilled 

 screens. Each fagade was thus enriched with im- 

 portant architectural features, and at the four 

 corners were open pavilions with red-tiled roofs 

 'that had broad overhanging eaves. 



Temple of Music. This structure, designed by 

 Esenwein & Johnson, was at the northeast junc- 

 ture of the Esplanade and the Court of Foun- 

 tains, and south of the Machinery and Transpor- 

 tation Building, from which it was separated by 

 the Court of Lilies. It was octagonal, and occu- 

 pied a site 150 feet square. It was surmounted 

 by a dome 180 feet high, suggestive in proportions 

 of the dome of the Pantheon at Rome. In treat- 

 ment the building was highly ornate, and it was 

 profusely decorated with pilasters sculptured in 

 relief, and over each of the four pediments was a 

 sculptured group by Konti. The auditorium of 

 the building had seating accommodations for 

 2,200 persons, and contained one of the largest 

 organs ever made in the United States, built by 

 Emnions Howard & Son. This was presented 

 to the city of Buffalo at the close of the exposi- 

 tion by James N. Adam. 



Horticulture Building. At the extreme west 

 end of the Esplanade was the Horticulture Build- 

 ing, designed by Robert S. Peabody. It was 220 

 feet square, with a dome and lantern rising to 

 a height of 240 feet. The building was formed on 

 the plan of a Greek cross, with four large arches 

 on the principal axes, and small octagonal pa- 

 vilions filling in the corners. The entrance from 

 the Esplanade was framed under an ample pedi- 

 ment ornamented with rich decorations in relief, 

 and picked out in color like the majolica work of 

 Italy. Its style of architecture was more sug- 

 gestive of the buildings of northern Italy than of 

 Spanish- America. 



Graphic Arts and Mines Buildings. These two 

 pavilions, which formed part of the horticultural 

 group, were also designed by Robert S. Peabody, 

 and were connected with the Horticulture Build- 

 ing by means of covered conservatories, filled with 

 blossoming hothouse plants. The Graphic Arts 

 Building was to the north, and was to the west 

 of the Temple of Music. At the southwestern end 

 of the Esplanade, and connected similarly with 

 the Horticulture Building by an arcade used as 

 a conservatory, was the Mines Building. These 

 two pavilions were square, with four towers in the 

 corners, and a loggia of three arches forming the 

 entrances to the building, and had a floor space 

 each of 30,000 square feet. The Fountain of Na- 

 ture, by George F. Brewster, was directly in front 

 of the east entrance of the Horticulture Building. 



Government Buildings. This group, which was 

 on the east side of the Esplanade, was designed 

 by J. Knox Taylor, supervising architect of the 

 Treasury Department. The group, similar to the 

 horticulture group, consisted of three structures 

 connected by curved arcades. The style of archi- 

 tecture was Spanish-American, and suggested the 

 great cathedral of the city of Mexico. The 

 large central structure was made picturesque by 

 numerous small towers and gilded domes and the 

 use of Mexican gables at the north and south 

 ends, and was crowned by a dome on which was 

 an imposing figure of Victory. The height of the 

 building was 250 feet, or 270 feet to the top of the 

 statue. The pavilion to the south was occupied 

 by the fishery exhibits, while the pavilion to the 

 north contained the collections from the Philip- 

 pines. 



Ethnology Building. This building, which was 

 designed by George Cary, was west of the Gov- 



ernment group of buildings, and south of the 

 Court of Cypresses, which separated it from the 

 Manufactures and Liberal Arts Building. Its 

 general design was classical, with Renaissance 

 decorative treatment. The building was circular 

 in plan, with the main entrances on the diagonal 

 axes. Between and connecting these was a con- 

 tinuous colonnade with a decorative frieze over 

 the windows. Above the colonnade was a prom- 

 enade with balustrade, and figures representing 

 the five different races. Over each of the four en- 

 trances was a pediment, with the Pan-A.merican 

 seal forming a decorative motive of the triangular 

 space above the gable. The building was covered 

 by a dome resembling that of the Pantheon at 

 Rome, 150 feet high. 



The Stadium. This amphitheater for athletic 

 sports was designed by Walter Cook, and was in 

 the northeastern part of the grounds. It was 

 modeled after the Pan-Athenaic Stadium, which 

 was cut in the side of Mount Pentelicus, near 

 Athens, more than two thousand years ago, and 

 was 680 feet long and 450 feet wide. The exterior 

 consisted of a series of columns, with arches be- 

 tween, while the interior had seats for 12,000 per- 

 sons, . backed up against the arcade, and termi- 

 nated by a sort of attic forming a promenade 

 around the entire building. On the west side was 

 the main entrance, above which was a tribune^ 

 with seats covered by a roof. The arena was laid 

 out to obtain a quarter-mile running track, and 

 its extreme dimensions were 569 feet in length and 

 260 feet in width. 



The Propyl&a. This structure was also de- 

 signed by Walter Cook, and consisted of a colon- 

 nade surmounted by a sort of pergola with green 

 vines, flanked by two large archways, giving ac- 

 cess from the railroad station. It formed the ex- 

 treme north side of the Plaza, serving, as far as 

 possible, to shut out the noise and smoke of the 

 railway-trains. It was 500 feet long, and the 

 gateways were broad arches 54 feet high and 36 

 feet wide. Two high, open towers surmounted the 

 arches on either side, and statues were placed 

 between the columns against a background of 

 color. 



Art Building. This building was designed by 

 Green & Wicks, and was at the extreme south- 

 east end of the grounds, on a knoll 35 feet above, 

 and west of, the Park Lake. It was in the Ionic 

 style of architecture, resembling the Erechtheum 

 in Athens. It was 250 feet by 150 feet wide, and 

 was of fire-proof construction, being built of white 

 marble and bricks. This building is to be a me- 

 morial of the exposition, and was given by J. J. 

 Albright, of Buffalo, to his fellow citizens. It is 

 to be the permanent home of the collection of the 

 Buffalo Fine Arts Academy, which has been made 

 the custodian of the property. Its cost was up- 

 ward of $350,000. 



New York State Building. This structure, de- 

 signed by George Cary, is in the classical order 

 of architecture, and follows the lines of .the Par- 

 thenon in Athens. Like the Art Gallery, it is to 

 be a permanent structure, and it was in the south- 

 west end of the grounds, facing the north bay of 

 the lake. In form it was a rectangle about 130 

 feet long by 80 feet wide, with a height of 50 feet. 

 At the close of the exposition it became the home 

 of the Buffalo Historical Society, and the large 

 collections and library of that organization are 

 to be preserved within its walls. The northern 

 fagade is faced with three-quarter columns, and 

 the entrance is through a vestibule, the bronze 

 doors of which were the gift of Andrew Langdon, 

 President of the Buffalo Historical Society. The 

 southern entrance was through a portico, embel- 



