and architecture, and all that the niddern world has heretofore 

 seen of glory and grandeur, i have seen beauty that will give 

 the world new standards of art and a joy in loveliness never 

 before reached. This is ^^d^at I have seen — the courts and 

 buildings of the Panania-T'acific Exposition illuminated at night." 



The ilhunination of the Exposition was based on develop- 

 ments of the science of lighting, and represents results of per- 

 sonal experience in this field extending over a period of twenty 

 years. 



The lighting for the Exposition was completely designed in 

 the latter part of 1912 and every feature was carefully calcu- 

 lated, as there was practically no opportunity for trial, owing to 

 the radical nature of the scheme and scope. The buildings of 

 previous expositions had in the main been used as a background 

 upon which to display lamps. The art of incandescent outlining, 

 notably the beautiful effects obtained at the Pan-American Ex- 

 position at Buftalo, could probably not be improved upon, and 

 furthermore, this form of lighting had been extended to amuse- 

 ment parks throughout the world and had become common- 

 place. Its principal disadvantages were the diminution of artis- 

 tic effectiveness at close range, similarity in efifects from differ- 

 ent view-points, the suppression or complete obHteration of 

 architectural features, and the economic necessity of extensive 

 untreated surfaces. Furthermore, the glare from so many ex- 

 posed sources when assembled on white or light-colored build- 

 ings, caused severe eye-strain. 



The lighting scheme and scope of the Panama-Pacific Inter- 

 national Exposition called for a radical departure from previous 

 practise. Incandescent outlining on the main group of palaces 

 was avoided, and screened or masked flood and relief lighting 

 to produce the third dimension of depth, substituted, and great 

 care was exercised to preserve the architectural features and 

 color, with proper relative intensities. For the first time at an 

 international exposition, the illuminating sources, whether arcs, 

 incandescent or gas, lost their identity as such. While a uni- 

 form system was maintained throughout, each court possessed 

 its individual characteristics with radical dififerences, and at the 

 same time the transition from one efifect to another was harmo- 

 nious, even to the extent of an intermediate step or carnival 

 efifect on the Avenue of Progress connecting the Zone and the 

 main group of palaces. 



During the pre-exposition period, there were many who 

 maintained that the general public would not be attracted except 

 by the glare of exposed brilliant sources. The lighting of the 

 Exposition, however, immediately disproved this theory and a 

 strong psychological appeal was made by the highly artistic 

 lighting effects. 



8 



