New York at the Louisiana Purchase Exposition, St. Louis 1904 / Report of the New York State Commission

by DeLancey M. Ellis

THE ARCHITECTURE

The building was pure Italian in style, surmounted by a low dome and surrounded by verandas and terraces. Through the main approach one entered a large hall sixty feet square, running the full height of the building, arched and domed in the Roman manner, with galleries around the second story. From this hall ascended the grand staircase, both to the left and to the right.

MURAL DECORATIONS

Under the four arches were handsome mural paintings, the work of Florian Peixotto, illustrating "De Soto Discovering the Mississippi," "The French and Indian Occupation," "New York in 1803," and "New York in 1903." The four pendentives which supported the dome contained emblematic pictures representing the four States most benefited by the Louisiana Purchase, Missouri, Louisiana, Mississippi and Alabama. The lower hall was of the simple Doric order, and the staircase was augmented by two memorial columns surrounded by dancing groups beautifully modeled, each column surmounted by a light. To the right of the entrance hall, and separated from it only by huge pillars, was a large assembly hall fifty by sixty feet, which was used for receptions, dinners and other State functions given by the Commission. This hall was most richly decorated in old golds, Antwerp blues and siennas and, with its crystal chandeliers and barrel vaulted ceiling running up through the second story, was one of the most attractive features of the building. Beyond the grand hall were small dining rooms and serving rooms connected with the culinary department. To the left of the entrance hall were waiting rooms, writing rooms and retiring rooms for the accommodation of guests, while at the extreme south end of the building were two reading rooms, in which were on file the various daily papers of the State. But seldom were the reading rooms without visitors eagerly familiarizing themselves with what had happened at home subsequent to their departure. Also, on the first floor were coat rooms, a bureau of information, postoffice, telegraph and telephone offices.

OFFICES OF THE COMMISSION

The second floor contained the offices of the Commission, which were occupied by the Secretary and the clerical force, and also eight suites of rooms, consisting of parlor, bedroom and bath, for the accommodation of the members of the Commission and their guests. One of these suites, more handsomely furnished than the others, was called the "Governor's suite," and was reserved for his exclusive use. While not originally contemplated, the third floor in both the north and south ends of the building were finished and partitioned into rooms for the use of the attaches of the Commission. This increased the capacity of the building by eight rooms.

THE SCULPTURE

Eminent sculptors were employed to prepare the statuary for the building which was generally conceded to be as fine as any upon the Exposition grounds, being most admirably adapted to the building as to scale. There were two massive quadrigae flanking the dome typifying the "Progress of Art" and the "Progress of Commerce," which were the work of Phillip Martiny, to whom was also intrusted the work of preparing the elaborate group, crowding the main entrance to Festival Hall and entitled "Apollo and the Muses." About the huge columns flanking the steps which formed the approach and again about the columns at the foot of the grand staircase were dancing groups most gracefully modeled by Oscar L. Lenz. The same sculptor was also responsible for the figure of "Greeting" which stood in the lower niche at the north end of the building. The coat of arms of the State which appeared frequently in the scheme of decoration was by Allen G. Newman. The work of reproduction in staff of the models prepared by the artists was performed by Messrs. Barth & Staak.

THE LIGHTING

The lighting of the building throughout was by electricity, and was particularly effective in the main entrance hallway, in that the lights, for the most part, were concealed behind cornices giving a very soft effect, and displaying to the best advantage the mural paintings. Throughout the building electroliers of special design were used. In the main hallway they took the form of quaint Florentine lanterns which were particularly rich in modeling and were an important factor in the scheme of decoration.

THE FURNISHINGS

The furnishings were most appropriate and harmonious throughout, much of the furniture having been especially built for the place in which it was to stand. In the main hallway stood massive Florentine chairs and settees, with high backs, upholstered in mottled embossed leather, each bearing the coat of arms of the State. The waiting and writing rooms were appointed and finished in the same simple design which prevailed in the main hallway, light green being the dominating color, the furniture being of mahogany, upholstered in Bedford cord. The effect was most restful to the tired visitor who entered the rooms upon a warm summer day, and their popularity was attested by the number of Exposition visitors, both from New York and elsewhere, who sought their quiet and refreshing atmosphere to recover from the fatigue of Exposition sight seeing.

THE ARCHITECT

The entire work of designing the building, sculpture, decorations and furniture was intrusted to Mr. Clarence Luce, of 246 Fourth avenue, New York city. Thoroughly familiar with the traditions of the great Empire State, Mr. Luce made the work committed to him a matter of State as well as professional pride, and the result of his long experience, coupled with his artistic temperament and sound judgment, was a building to which each New Yorker pointed with the utmost pride and which each stranger praised unstintingly. The prompt completion of the work so thoroughly and satisfactorily done was a source of gratification to the Commission, who at the first meeting held in the building passed commendatory resolutions concerning Mr. Luce.

There were State buildings which represented an outlay of considerably more money, but none which typified the commonwealth for which it stood more thoroughly than did the New York State building.

THE RESTAURANT

A pleasant feature was a private restaurant, conducted by Messrs. Bayno & Pindat, of New York city, the former being the inventor of an electric range which was used in the preparation of food. The kitchen and commissary department was in the basement at the north end of the building. The privileges of the restaurant were by card only, and were extended to New Yorkers, Exposition officials and prominent Exposition visitors. The cuisine was most excellent, and throughout the season appetizing meals were served on the spacious verandas at the north end of the building, over which canopies had been erected, the illumination being furnished in the evening by electric lights, contained in Japanese lanterns. No restaurant upon the grounds enjoyed a greater popularity among those who were privileged to use it than did that of the New York State building.

THE ORGAN

To the Aeolian Company, of New York city, the Commission is indebted for one of the features of the building. This company placed a magnificent pipe organ in the east balcony of the rotunda, and in the gallery north of the grand hall, nearly 100 feet away, was installed an echo organ, while a set of cathedral chimes sounded softly from still another distant part of the building. All three instruments were under control of the organist at the console located upon the main floor of the entrance hall, and could be played either by hand or by music rolls manufactured by the Aeolian Company. The organ was equipped with an electric keyboard which permitted the playing of all three instruments or any single one, as the operator desired. The main instrument was contained in an artistic case, which, with its decorative ornament, was built by Charles and Jacob Blum, of New York city, and was an important enrichment of the hall.

Mr. S. H. Grover, a representative of the company, was in attendance throughout the summer and gave a recital each day at three o'clock in the afternoon. These recitals soon came to be a feature of the Exposition, and were largely attended by music lovers.

The program played on New York State day is given below, and is a fair specimen of the programs rendered throughout the season.

Overture, "Oberon" Von Weber
Serenade Schubert
The Nightingale Delibes
Overture, "Stradella" Flotow
Berceuse, "Jocelyn" Godard
Selections, No. 11, "La Boheme" Puccini
Am Meer Schubert
Introduction, Act III, "Lohengrin" Wagner

THE PIANO

The Commission also acknowledges the courtesy of Steinway & Co. in placing in the State building one of the finest instruments ever turned out by this famous firm of piano builders. Its purity of tone and singing qualities were remarkable, and during the season several recitals were given upon it by eminent musicians. The piano was appropriately named "The Wave," illustrating as it did the wonderful waterways of the Empire State. The case was made of white hard maple, admirably adapted for fine carving. Some distance from the edge of the top the smooth surface commenced to take the undulations of the surface of water, gradually increasing in volume until the edge was reached, where the waves seemed to flow over in an irregular line down the sides, here and there forming panels. The three supports were composed of female figures sculptured in wood; one supported by a dolphin suggested the mythical origin of the harp, another was poised upon a dolphin's back, and the third was a water nymph nestled among the rocks and spray. The music desk contained a picture of sunrise on Lake Erie. All of the carving was colored with translucent greens and blues enhancing the graceful undulations and wave movements. The panels were all designed to illustrate some of the most important views of the waterways of New York State. The first represented New York harbor, the next East river spanned by Brooklyn bridge, another the Hudson, with its palisades. The panel over the rear support was a view of Albany, showing the Capitol on the hill at sunset; another showed Cohoes Falls and the Erie canal; the next contained a picture of Little Falls; the last being a picture of Buffalo harbor. On the top, as a fitting finale, was a large picture representing the American Falls at Niagara. Underneath the front half of the top was painted the coat of arms of the State.

THE STAFF

The State building was at all times in charge of a competent and obliging staff, which always stood ready to minister to the comfort and pleasure of the guests of the Empire State. Honorable Frank J. LeFevre, of New Paltz, was Superintendent. He performed the arduous duties of directing the actions of the force and attending to a multitude of details with cheerfulness and efficiency. He was ably assisted by George E. Cowper, of Olean, the Assistant Superintendent.

The social functions given in the name of the State Commission were directed by Mrs. Norman E. Mack, the lady member of the Commission, whenever she was present. In her absence the social duties fell upon Mrs. Dore Lyon, who invariably extended the State's hospitality with grace and tact. The assistant hostess, Mrs. F. P. Applebee, won many friends in the course of the season through her courteous treatment toward all guests. The comfort of the Commission and their house guests was admirably provided for by Miss Laura MacMartin, the matron.

Acknowledgment is also due to those who faithfully served the Commission in the State building in various capacities throughout the Exposition period.

[Illustration: LIVINGSTON MEMORIAL TABLET]