The Ornamental Movement of JVater in City Streets 
the former and two 
of the latter are 
illustrated in this 
number. A con¬ 
spicuous fountain 
o;iven by Dr. H enry 
D. Cogswell,which 
stood tor some time 
at the corner of 
Market, California 
and Drum Streets, 
perished ignomini- 
ously from sheer 
force of public 
opinion. The 
monumental por- 
tionot thefountain 
was much disliked, 
and one morning it 
was found in pieces 
in the street, hav¬ 
ing been lassoed 
and pulled down 
by certain well- 
known citizens. 
Dr. Cogswell also 
erected a memorial 
to Franklin, which, 
being of granite and 
bronze, still stands at the corner of Kearney 
Street and Montgomery Avenue. The in¬ 
clusion of fountain adjuncts in these two 
monuments must be ascribed to Dr. Cogs¬ 
well’s activity as a temperance agitator. 
Another donor ot a fountain to San Francisco 
was Lotta, the actress; her gift, alas, was 
made of cast iron, and is “despised, but 
loved for the giver’s sake.” 
Much more creditable, artistically, accord¬ 
ing to Mr. Lionel Deane, a San Francisco 
architect, are two fountains with sculpture 
by Douglas Tilden. One of them, intended 
to symbolize the iron industry, is reared at 
Bush, Battery, and Market Streets, and was 
the bequest ot a Mr. Donahue. The other, 
given by a former mayor, Mr. Phelan, is 
called the Native Sons, or Admission Day 
Fountain. It stands at the corner of Market, 
Turk and Mason Streets. The comparative 
insignificance ot the surrounding buildings 
gives this structure a legitimate chance to 
dominate its neighborhood. The figure of 
the youth with a banner saves it from the 
charge of being en¬ 
tire 1 y common¬ 
place and it speaks 
a decided and not 
unpleasing word. 
The interesting 
memorial fountain 
to Robert Louis 
Stevenson, which 
stands in the Plaza, 
was illustrated in 
the April number 
of this magazine. 
M arket Street is 
the backbone of 
the map of San 
Francisco. From 
either side, at vary¬ 
ing distances, 
emerge streets, but 
while those on one 
side leave it at right 
angles, those on the 
other spring out at 
an angle of about 
forty-five degrees. 
This leaves a series 
of “ gore ” lots, all 
along Market 
Street, from Oakland Ferry upward, and 
many of these are well adapted for fountains. 
So, too, are the intersections of other streets 
with Van Ness Avenue which is a thorough¬ 
fare 120 feet wide. 
Sites on triangular plots made by the 
intersection of streets at an acute angle gen¬ 
erally demand detached structures. The 
grassy slope in front of the new city hall of 
San Francisco is a case in point, and although 
there is none too much space between street 
and building, the problem would doubtless 
be grateful to a judicious architect or sculptor. 
Such a fountain, in its design, should not 
seek to declare independence of the group 
of buildings behind it. Placed near the apex 
of this triangle, it would necessarily become 
a subordinate feature of a large and interest- 
ing scheme. 
Quite otherwise would the case be with a 
water decoration intended to dominate an 
independent plot, even if, in turn, this latter 
should accommodate itself to the general 
architectural conditions about it. The classi- 
THE ADMISSION DAY OR “NATIVE SONS ” FOUNTAIN, 
SAN FRANCISCO 
Douglas Tilden, Sculptor 
424 
