94 New York at the Woeld's Columbian Exposition. 



made with them. As the symbol and embodiment of the official pres- 

 ence of the State at the World's Fair, the design of the building was 

 necessarily the subject of a great deal of thought on the part alike of 

 the Board of General Managers and the architects. New York had at 

 least this advantage in coming in late — the plans of the States that 

 were to be its neighbors had been fully determined. It was found that 

 these had been afEected entirely by local historical associations, and it 

 was evident that if New York were to follow their lead the result 

 would be a kind of architectural conglomerate, in harmony neither 

 with itself nor the carefully considered scheme of the great exposition 

 structures. In point of fact, there were more failures than successes 

 in Jackson Park in the attempted reproduction of historical buildhigs 

 in unfamiliar surroundings, and in the opinion of all discriminating 

 critics. New York did wisely in refusing to join in this competition. 

 The State had a magnificent opportunity presented to her in the con- 

 spicuous site reserved for her occupancy, immediately opposite the 

 center of the Art Building, a distinction in which Pennsylvania alone 

 shared. It was, therefore, decided to associate the State building in its 

 architectural design rather with the main exposition than with the 

 unrelated congeries of State headquarters. That point being determined, 

 the selection of the style of the Italian Renaissance naturally resulted ; 

 for, besides opening lip the widest range of opportunity in treatment, it 

 assured for the building a monumental and dignified character, adapted 

 alike for reception purposes and summer occupation. The next step 

 was to find a type which would best fulfill all the requirements of the 

 case. For many reasons, that of the Villa Medici, with necessary 

 modifications, was adopted, its royal accessories suggesting an appro- 

 priate headquarters for the Empire State, no less than a striking archi- 

 tectural foil for the noble proportions and outline of the Art Building 

 opposite. 



In thus establishing the relation of New York State with the main 

 enterprise, and by giving its building something of the monumental 

 character in scale and other attributes which made the external side of 

 the exhibition what it was, it is not intended in the least to disparage 

 the excellent and creditable representation of several of the States in 

 their buildings. But for the very reason which gave the chief struc- 

 tures of the fair their artistic unity, namely, a policy agreed on in 

 advance and closely adhered to in the case of the Court of Honor, 

 where all the buildings were constructed under certain restrictions, the 



