The Genius of Creation
Central Group, Avenue of Progress
"The Genius of Creation," by Daniel Chester French, has the superb simplicity of all works of that master of sculptural calm, intellectual power and straightforward sincerity. Mr. French is said to make no mistakes in composition; his precision is not dryness but technical ease and infallibility; his classical quality is not obedience to tradition but insight, into the underlying laws that made tradition. Here we have a splendid example of his perfection of mass, balance and finish and of quiet, inspiring depth and directness of feeling. Creation extends life-giving arms over the universe. Serene, brooding, blessing, the noble face emerges from mysterious shadows of the enveloping mantle. The sculptural quality of the draperies, their weight and texture and grace are notable. At the foot of the pedestal rock, man and woman stand - facing different sides, but their hands are clasped at the back of the group. The Serpent surrounds all, inevitably suggestive of the story of Genesis, but symbolic of the waters from which life emerged and the encircling oneness of the universe.
The Genius of Mechanics
Column Friezes, Machinery Hall
All of the sculpture about the Palace of Machinery partakes appropriately of the size and strength of that huge building which houses the world's progress in mechanical arts. The sculpture, like the building, is Roman rather than Greek in type and modern American in vigor and expression, as are the chief contents of the Palace. The sculptor, Haig Patigian of San Francisco, has expressed this combination with power and virility. The frieze here illustrated appears at the base of massive columns, interestingly made of simulated Sienna marble, the warm tones truly reproduced. The frieze is extremely energetic, although well restrained, and supports the great column as a basic frieze should do, especially when its subject is so appropriate to the purpose. Two winged Genii, one holding a pulley, one upholding the column upon his hands, alternate with two Disciples, for whom their extended wings create a background. One of these is complemented by hammer and anvil, the other by furnace and tongs. Both share the column's weight on powerful arms. The imaginary figures show potential strength in repose, the human figures potent strength in action. The frieze in low relief is colorful and decorative.
The Powers
Column Finials, Machinery Hall
High upon the mighty columns that surround, relieve and give color to the immense facades of Machinery Palace, are Haig Patigian's masculine and trenchant figures "The Four Powers." These are of heroic height, and create an impression of superhuman size and strength even when raised so far above the ground. They have a simple robustness that accords well with their theme. Two of the Powers are abstract, the driving powers of thought; these are Invention and Imagination. Two are concrete, representing the mightiest powers of modern mechanics, Steam Power and Electric Power. Steam Power is forcing the driving arm of an engine; Electric Power, the world at his feet, handles the lightnings. He wears the winged cap of Mercury, messenger of the gods, for electricity is the messenger of modern days. Invention, crowned with the bays of achievement, holds in his hand a bird-man about to leave the earth; Imagination, accompanied by the eagle making ready to soar, dreams with closed eyes.
Pirate Deck-Hand
Niches, North Facade of Palaces
The northern facades of all the palaces along the Marina are beautifully embellished above the vestibules with an intricate plateresque decoration, modeled after portals in Old Spain. In the three ornate statue-niches - in the original probably devoted to saintly images - are romantic figures by Allen Newman. It is appropriate that these figures facing the water-front should represent, as they do, the Conquistador and the Pirate Deck-hand, who once were masters and terrors of the main. The Conquistador stands in the central canopied niche, the strong line from his helmet-point down his sword-hilt making a grimly decorative axis for the whole. The Deck-hand is repeated in the niches on each side. This ruthless minion of sea adventurers is here pictured beyond the urchin's dreams. The line of the rope he carries is a touch of excellently handled decoration. Both these figures are so well harmonized architecturally and sculpturally to their pedestals and location that the entire facade should be seen for their proper appreciation.
From Generation to Generation
Palace of Varied Industries
In the portals on the south side of the group of palaces, facing the Avenue of Palms, we have again the beauteous old Spanish doorways in plateresque design, with niches filled with modern sculpture. The portal of the Palace of Varied Industries, copied from a famous prototype in the old hospice of Santa Cruz, in Toledo, Spain, was assigned to Ralph Stackpole. He is a sculptor who delights to honor the laborer and the craftsman and has supplied the figures for niches and keystone space and the tympanum and secondary groups in the portal of Varied Industries with evident affection. He treats the subject of labor with dignity, according it respect and not sentimentality. In this secondary or crowning group, a strong young man is taking the burden of labor from the shoulders of the last generation - an old workman, bowed but still hale and vigorous. There is a sense of responsibility and earnestness in the group, but complete confidence and power. It might well have been feared that these rugged types of American life might ill accord with the ancient ornate doorway. But the decorative proprieties have been thoroughly sustained.