The Gothic type of architecture of this court has not been accredited to any preceding period. Its general character supposedly resembles Spanish or Portuguese Gothic more closely than any other known style.
The Court, including its avenue extending to the Marina, was designed and modeled by the writer of this article, Louis Christian Mullgardt.
Over six hundred acres are comprised in the elongated site on which the Exposition stands. Millions of people from all parts of the world have made pilgrimage to this realm of phantasy, and many thousands more are on their way, determined to bask in the radiance of Good Will toward All Mankind, which this Mecca of Peace, Enlightenment, Beauty, and Inspiration for a better and greater future gives forth. Its purposeful influence is destined to serve perpetually beneficent cause in the furtherance of unified international humanitarianism after the ephemeral vision of this Phantom Kingdom has vanished.
L. C. Mullgardt.
Illustrations and Descriptive Notes of the Architecture and Landscape
Gardening of the Exposition
Panorama
Exposition from Presidio Heights
From the vantage point of Presidio Heights, one may see this panorama of the Exposition and catch the symmetry of arrangement in the walls of the palaces, in the graceful lines of the towers and in the impressive contour of the domes. The effect is largely due to the ground plan, distinguished for its balance and poise, which was designed by Mr. Willis Polk and Mr. Edward Bennett.
The main palaces, eight in number, are built around three courts, producing an admirable compactness and unity. To the west of this central block of buildings, is the Palace of Fine Arts, and to the east, Machinery Hall. The Palace of Horticulture and Festival Hall are located in the great South Gardens. The Zone lies in the extreme eastern wing of the grounds, and the corresponding section to the west is devoted to the Pavilions of the Foreign Nations and of the States of the Union.
Tower of Jewels
The Illumination by Night
The Tower of Jewels, designed by Carrere and Hastings of New York City, is the centralizing and dominating feature of the Exposition. In its colossal dimensions and in the imposing dignity of its position and conception, it seeks to embody, in one triumphal memorial, the importance to the entire world of the opening of the Panama Canal; while in architecture, sculpture, mural painting, decorative ornament and inscribed tablet, it celebrates, in varying form, the glory of achievement.