EXPOSITION, THE PAN-AMERICAN. 



ui i he City of God; in thy heart, the bower of 

 love and the realms of right and wrong" (Emer- 

 .-on. The Method of Nature). 



Sculpture Plan. A general symbolical idea ex- 

 tended through the decoration of the grounds by 

 means of sculpture. More than 1*5 original 

 groups, by celebrated American sculptors, were 

 scattered about the grounds and buildings. No 

 exposition was ever so adorned before. Beginning 

 with the east wing of the Esplanade, the subject 

 of Nature was chosen, and the large fountain 

 at the head was called the Fountain of Nature, 

 and its execution entrusted to George T. Brewster. 

 The two subordinate fountains were Jby Edwin F. 

 Elwell. and were known respectively as Ceres 

 and Kronos. Six groups of statuary in the im- 

 mediate vicinity, consisting of three series of two 

 each, represented Mineral Wealth, by Charles H. 

 Niehaus; Floral Wealth, by Bela L. Pratt; and 

 Animal Wealth, by E. C. Potter. On the oppo- 

 site side of the Esplanade, Man was the dominat- 

 ing subject, and corresponding to the Fountain of 

 Nature was the Fountain of Man, by Charles 

 Grady, while the subordinate fountains were dedi- 

 cated to Hercules and Prometheus, and were by 

 Hinton R. Perry. The groups representing the 

 Savage Age, the Age of .Despotism, and the Age 

 of Enlightenment, were by John J. Boyle, Isidore 

 Konti, and Herbert Adams. The large fountain 

 on the north side of the Esplanade was the Foun- 

 tain of Abundance, by Philip Martiny, while sur- 

 rounding the Court of Fountains were numerous 

 statues of fauns, nymphs, and bacchantes. The 

 Triumphal Causeway, which formed the entrance 

 to the Esplanade from the south, consisted of four 

 pylons, crowned by mounted standard-bearers, by 

 Karl Bitter, expressing Peace and Power. Large 

 semicircular bays extended on either side of the 

 bridge into the canal, and these bays supported 

 colossal flag-poles, the bases of which were richly 

 ornamented with figures and sea-horses, one hav- 

 ing as its subject the Atlantic and the other the 

 Pacific, both by Philip Martiny. In front of the 

 Causeway were two guard-houses, surmounted by 

 two colossal Fighting Eagles, by Maximilian 

 Schwarzott. The equestrian statue of Washing- 

 ton, by Daniel C. French, was at the entrance of 

 the main approach to the Triumphal Causeway, 

 and one of Gen. Sherman, by St. Gaudens, was in 

 front of the Art Building. 



The Amusement Feature*. These were arranged 

 in the northwest portion of the grounds; under 

 the name of the Picturesque Midway, or Lane 

 of Laughter. The director of concessions, Fred- 

 eric W. Taylor, grouped them under two head- 

 ingsthose that were devoted to distinctly amuse- 

 ment features, and those that were largely educa- 

 tional. A further classification, also presented by 

 him, includes the following: P^thnological Afri- 

 can Village. Alt Niirnberg, Beautiful Orient, Chi- 

 quita, hskimo Village, Gypsy Camp, Hawaiian 

 > illage. Indian Village, Infant Incubator, Japa- 

 nese Village, Mexican Village, Old Plantation, 

 I bilippme \ illage, and Venice in America. Zo- 

 -Bostock's Animal Arena, Diving Elks, 

 Horse Bonner, and Ostrich Farm 

 Pictorial Cineograph, Cleopatra, Dawson City, 

 tall of Babylon (painting). Johnstown Flood, 

 Kilauea. Living Pictures. Missionary Ridge, Muto- 

 scopes. and Panopticon. Human Labor Colo- 

 rado Gold-Mine. and Glass Factory. Theatrical- 

 Darkness and Dawn, Dreamland! House Upside 

 Down, and 1 rip to the Moon. Sensational Aero 

 Cycle, Captive Balloon, Merry-go-round, Minia- 

 ture Railway, and Scenic Railway. There were 

 also booths or bazaars, where souvenirs could be 

 purchased, as well as several restaurants. 



Music, Special Days, and Conventions. During 

 the life of the exposition, various bands gave 

 daily concerts from the band-stands about the 

 Plaza and the Esplanade, and among these were 

 the famous First Artillery Band, of Mexico, 

 Sousa's Band, of New York, the Carlisle Indian 

 Band, of Carlisle, Pa., Innes's Band, of New 

 York, and the Ladies' Military Band, of Boston; 

 also organ recitals were given daily in the Tem- 

 ple of Music by some seventy-five organists, rep- 

 resenting nearly every portion of this country and 

 Canada, each of whom presided at the organ for 

 not more than two days. As has been the prac- 

 tise at expositions, each day during the life of 

 the fair was devoted to the interests of some spe- 

 cial community, organization, or nationality, the 

 communities being represented by the various 

 States, the organizations by fraternal societies, 

 and the nationalities by various countries. Like- 

 wise, very many conventions were held in Buf- 

 falo, advantage being taken of the exposition to 

 bring out a large gathering. These included col- 

 lege fraternities and organizations, ranging in 

 variety from the Associated Bill-Posters of the 

 United States and Canada to the American Insti- 

 tute of Architects. 



Stamps and Medals. The Post-Office Depart- 

 ment issued a series of commemorative stamps in 

 recognition of the exposition, similar to those 

 used during the Trans-Mississippi Exposition. 

 They were of uniform dimensions, 0.76 by 1.06 

 of an inch, the longer side being horizontal. The 

 borders took the colors of the regular series on 

 the same denominations of the current date. The 

 words " Commemorative series, 1901," and 

 " United States of America " next below appeared 

 above the vignette; the legend in a line next be- 

 low the central opening, with the denomination in 

 a line at the bottom, w r as given in the same order 

 on all stamps of the series. The lettering was in 

 white Roman capitals, and the numerals were all 

 white-faced Arabic in the roman type except the 

 10-cent, where the block-letter type of figure con- 

 densed to secure space for the two figures was 

 used. The borders were well-separated from the 

 central pictures, and the words of denomination 

 at the bottom were preceded on the same line by 

 the word " Postage." All the central illustrations 

 were from photographs as the objects represented 

 appear to-day, and were printed in black. The 

 series was as follows: 



One-cent, with the legend " Fast lake naviga- 

 tion," shown by a lake steamer, propelled by 

 side-wheels, with one funnel, and the pilot-house 

 well forward. Color, green. 



Two-cent, with the legend " Fast Express," 

 shown by a train of four cars, drawn by a four- 

 driver locomotive, and four parallel tracks in the 

 vignette. Color, red. 



Four-cent, with the legend " Automobile," 

 shown by a closed-coach automobile, with two 

 men on the box, and a part of the United States 

 Capitol at Washington as a background. Color, 

 red brown. 



Five-cent, with the legend " Bridge at Niagara 

 Falls," shown by a view of the largest single-span 

 steel bridge in the world, having two trolley-cars 

 upon it, and a view of Niagara Falls appearing 

 under, beyond, and up the river, with a graceful 

 springing arch as a frame. Color, blue. 



Eight-cent, with the legend "Canal locks at 

 Sault de Ste. Marie," shown by the great ship- 

 canal locks at Sault de Ste. Marie, Michigan, in- 

 cluding immediate surroundings, given in a view 

 from a higher point. Color, lilac. 



Ten-cent, with the legend " Fast ocean naviga- 

 tion," shown by an American Line steamship, 



