This building covers five acres, and is worthy to be ranked with the Exposition palaces. Under the tower is a fine vaulted loge and a reception room, both opening into a splendid balconied ballroom behind, all finished in the Exposition travertine. The walls of the reception room are hung with magnificent tapestries, loaned by Mrs. Phoebe A. Hearst. The west wing contains the administrative offices of the Exposition and the Woman's Board, and the directors' club rooms. The large eastern wing is entirely filled with the displays of the fifty-eight California counties. (p. 182.) These together form one of the most noteworthy exhibits in the entire Exposition. They demonstrate the fact that a multitude of other resources besides her gold entitle California to be called "the Golden State."
The Oregon Building, Foulkes and Hogue of Portland, architects, imitates, though it does not reproduce, the Parthenon of the Athenian Acropolis. (p. 191.) Doric marble is replaced by the natural columns of the great trees of Oregon, and the frieze of Phidias, by the fretwork of the bark of pine and fir. There are forty-eight of the great columns, the same number as in the outer colonnade of the Parthenon, and, coincidentally, one for each State of the Union. They were cut from among the largest of trees. The Douglas fir, next to the redwood and the sequoia the most massive of living things, furnished most of them. But the largest happen to be the two giant incense cedars, which stand on either side of the main entrance. These are eight feet and ten inches in diameter. Then there are two columns on the south side, both cut from a spruce that was four feet seven inches through at 101 feet above the ground.
In exterior proportions the building reproduces the Parthenon, but the Parthenon had a double row of columns around its porch, the Oregon temple has but a single row. In size it is considerably larger than the Partheon. The great flagpole is a single stick of Douglas fir, 251 feet long, set in a 200-ton block of concrete. The building contains an excellent exhibit of Oregon's resources.
The Washington Building, A. F. Heide of San Francisco, architect, is a striking example of the French Renaissance. (p. 191.) Unlike most of the state buildings, it is used largely for the exhibition of home products. Its motion pictures, its group of wild life, and its displays of agriculture, mining, forestry and fisheries, are all designed to advertise the remarkable scenery and resources of the Evergreen State. Washington is an important exhibitor in the Palaces of Horticulture, Agriculture, Food Products, Mines and Education.
The New York State Building is, next to that of California, the largest structure erected by any state. (p. 170.) It is in every way a dignified and noteworthy example of the best modern civic architecture. Charles B. Meyers, of New York City, was the architect. The building is finished in plastic travertine. A magnificent entrance opens upon a wide central corridor. An assembly room, intended for the use of New York organizations, and a restaurant, pierce the second story. The other rooms on the first floor are devoted to the reception and convenience of New York visitors. On the other floors are the offices and apartments of the Commission, with a special suite for the Governor of the State. New York's official exhibits are in the several exhibit palaces.
The New York City Building, Bertram G. Goodhue, of New York, architect, is the only municipal building at the Exposition. It is a simple classic structure, housing an extensive display intended to demonstrate and promote municipal efficiency. Its exhibits, maps, models, photographs and charts,—admirably illustrate all sides of city government.
The Massachusetts Building, planned by Wells and Dana, of Boston, is a fac-simile reproduction of the Bulfinch front of the Massachusetts State House on a scale of two-thirds. (p. 181.) Within, as well as without, it is of commanding interest to every American. Its rooms are furnished with veritable colonial furniture. The club room to the right of the entrance hall is done in Jacobean style, the reception room opposite shows fine copies of Chippendale, Sheraton, Hepplewhite and Adams originals, and is hung with a long series of historic portraits, lent by Massachusetts families and the State Historical Society. On the second floor is a room filled with genuine old furniture by the most famous makers, fine colonial mirrors, and a Willard clock. The Governor's suite and the Commissioners' rooms are furnished with exquisite copies of colonial models.
The Pennsylvania Building, Henry Hornbostel, of Pittsburgh, architect. This interesting structure is reminiscent of Independence Hall, Philadelphia, though it is not a reproduction of the Cradle of Liberty. (p. 181.) Its plan was dictated by the necessity of a fireproof structure in which to house the Liberty Bell at the Exposition. Consequently, it is the solidest and most enduring of the state buildings. Besides the Bell, which is placed in the loggia, its most striking feature is the two fine mural paintings under the attic, from the brush of Edward Trumbull, of Pittsburgh, one representing Penn's Treaty with the Indians, and the other Pittsburgh Industries.
The New Jersey Building, Hugh Roberts, of Jersey City, architect, like those of Pennsylvania and Virginia, tells of the days of the Revolution. It is a copy of the old Trenton barracks, erected in 1758, and used alternately by British and Colonial troops during the Revolution. Within, its simple and comfortable appointments make it one of the most popular of the state buildings. A large lounge with blazing fireplaces, and furnished in white reed, occupies the entire central section. In the east wing are the offices and rooms of the Commission. The west wing contains the lobby and a reception room in which hang two large marines painted by N. Hagerup, of San Francisco. As the building is to be President Wilson's headquarters if he comes to the Exposition, a splendid suite, corresponding with the rooms occupied by General Washington, has been furnished and reserved for him.
The Maryland Building, designed by Thomas, Parker and Rice, of Baltimore, presents a fascinating study of colonial architecture in its reproduction of "Homewood," built by Charles Carroll of Carrollton in 1802. The present aspect of "Homewood" has been imitated in appearance of age given to the brickwork and the timbering. The contents of the building are no less delightful, historically, than the structure itself. The Colonial Dames of America have enriched the walls with original portraits of colonial celebrities, old prints, original grants by the Baltimores, and many historical documents and relics. Colonial furniture adorns the rooms. Few of the state buildings will so well repay a visit.