The great composition to the left is labeled "The Atlantic and the
Pacific," with a picture of "The Purchase" on the right and "The
Discovery" on the left. Opposite we have the "Gateway of all Nations,"
with "Labor Crowned" and "The Achievement" on either side.
Mr. Dodge has a very fine sense of decoration, which he used with much skill. His command of human forms, together with the complete mastery of all other detail, enables him to paint very easily decorations which leave no doubt as to his long and varied experience in this field.
"The Atlantic and the Pacific" is very interesting in its formal symmetry, splendidly relieved by the individual treatment of the eastern and western nations which receive with expressions of joy the completion of the great waterway which means so much for the furthering of their mutual interests.
"The Gateway of all Nations" on the opposite side is less symmetrical, but very well balanced in its arrangement of many elements, naturalistic as well as allegorical. On the left, in the middle picture, one sees the retiring forces of labor, proudly watching the great procession of varied ships, moving in a joyous parade, led by Father Neptune and attendants, towards the recently opened gate. Preceding Father Neptune are allegorical figures, rhythmically swinging away into the sky. All of Dodge's decorations are good for their sound decorative treatment, always sustaining well the architectural surrounding frame, so particularly important in this great and massive tower. Dodge's backgrounds are devoid of any naturalistic suggestion, which so often destroys otherwise effective decorations.
The function of a decoration must always be to preserve the feeling of the wall, as opposed to the work of the easel painter, who wants to assist in forgetting that there is a canvas and to suggest that we are looking into the far distance. A good decoration should, as it were, allow the driving of a nail into any part of its surface - it should not make a hole in the wall.
In the two triumphal arches of the Nations of the East and the West, Frank Vincent Du Mond and Edward Simmons, respectively, contributed to the scheme of decorations. In the western arch, DuMond painted a continuous frieze of the march of civilization towards the great West. His work is most conscientiously done, very intellectual, and most effective in color, as well as in arrangement. You see in his continued scheme the entire story of western development.
It begins with the youth departing from his old father, who only reluctantly - feeling the infirmities of old age - stays behind. Preceding the young man, the historical prairie-schooner, accompanied by pioneers, continues the procession. This is developed further in historical groups of soldiers, priests, and men representing the intellectual rise of the great West. There is William Keith, with the palette, Bishop Taylor, Bret Harte, Captain Anza, and other well known western figures, taking their place in the procession of tent wagons and allegorical figures, all striving towards that very fine group representing California in all the gorgeousness and splendor of the Golden State. This composition of "California," taken by itself, is one of the very best passages in the whole decoration, and could very effectively be used all by itself.
On the east, Edward Simmons presents two very charming compositions, full of great refinement and delicacy. The refined coloring of his decorations, so very delightful by themselves, is not in accord with the architecture, and in the overawing surroundings of the great arch they do not look as well as they might in a more intimate scheme of smaller scale. The one to the left, as seen from the Court of the Universe, tells of the dreams which led to the exploring and exploiting of the great West. Carefully designed figures of great refinement. represent "Hope" and "Illusory Hope," scattering tempting bubbles, heading the procession of stately women. They are followed by "Adventure," "Art," "Imagination," "Truth," and "Religion" and a group suggesting family life.
On the opposite side the westward trend of War, Commerce, Conquest,
Imagination, and Religion from all corners of the earth is typified.
Mr. Simmons in all his work employs a very unusual technique of broken columns, without losing a certain desirable simplicity of surface. His allegorical theme on the north side will linger in the minds of the people as one of the best of the Exposition decorations, particularly for its graceful drawing.