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of absolute stability. This implied the necessity of procuring a pyramidal or culminating effect; the whole composition, from bottom to top, preparing for this effect by some process of diminution by stages upward. To this end he enveloped his hall (which the conditions of area permitted him to make 120 feet in interior diameter) with two octagonal shells about 24 feet apart, the space between being occupied by galleries, elevators, vestibules, and staircases. Against the alternate or diagonal sides of the octagon he erected four pavilions in the form of wings 84 feet square, in four stories, in which

he accommodated the various offices of administration; the archways, pierced through the four cardinal sides of the octagon, being externally recessed between these pavilions, thus affording two direct, broad passageways through the building at right angles. These pavilions are so treated as to be in scale with the other buildings of the great court, and are carried to the same height of 60 feet, thus securing four widespreading abutments with flat, terraced roofs. Above these the outer octagonal shell of the central mass detaches itself, and asserts its outline against the sky through another stage, where it

stops in the form of a gallery, decorated with bronze flambeaux, and permits the inner shell in turn to become outwardly manifest in a third stage of diminished diameter, rising in an octagonal drum, the whole mass finishing with the soaring lines of the central dome; which by vertical growth, determined by conditions of proportion, reaches the height of 275 feet from the pavement. Enriched with decorated ribs and sculptured panels, and made splendid with shining gold, this noble dome rises far above the other structures of the Exposition, proclaiming afar the position of its monumental gateway.

But as the inner surface of the outer dome would form a ceiling far too lofty to serve as a proper and effective cover for the hall, it became necessary, in order to give proper proportions to this monumental chamber, to construct an inner and lower dome, 190 feet high from the pavement, with an open eye at the apex, through which from below could be seen the upper structure, like the cope of a mysterious sky beyond. This architectural device is similar to those used by Mansart in the dome of the Invalides at Paris, by Soufflot in the Panthéon, and by Wren in St. Paul's at London, which rank next to St. Peter's as the largest and most important of the great Renaissance temples of Europe. It also appears in the rotunda of the national Capitol at Washington. But, as conceived by Hunt, the exterior dome of the vestibule of the Exposition is 42 feet higher than that of Mansart, 45 feet higher than that of Soufflot, about the same height as that of St. Paul's, and 57 feet higher than that of our national Capitol, exclusive of the lantern in each case. The interior dome has a height from the pavement 15 feet higher than that of the Invalides; it has about the same height as that of the French Panthéon; is 20 feet lower than that of St. Paul's, and 10 feet higher than that of the Capitol at Washington. In diameter it surpasses all these domes, being 38 feet wider than the first, 56 feet wider than the second, 12 feet wider than the third, and 26 feet wider than the Washington example. Indeed, in this regard, it is only 20 feet less than that of St. Peter's at Rome, which, however, in exterior height exceeds the American model by 90 feet, and in interior height by 143. Being thus in dimensions inferior only to the work of Michelangelo, it may be considered, in this respect, at least, an adequate vestibule to the Exposition of 1893.

The method of lighting the interior of this vast domical chamber in a proper and adequate manner was a problem so important that Mr. Hunt considered it one of the primary formative influences controlling the evolution of his architectural scheme. One of the noblest effects of interior illumination known in historical art is in the Roman Pantheon, the area of

which (140 feet in diameter) is lighted only by the circular hypethral opening 25 feet wide at the apex of the dome, 140 feet from the pavement. Inspired by this majestic example, Mr. Hunt proposed in this respect to depend mainly upon such light as could be obtained from the open eye of his lower dome, 50 feet wide and 190 feet from the pavement, which should in turn borrow its light from the illumination of the space between his outer and inner domes through a glazed hypethral opening 38 feet wide, forming the summit of the building, and taking the place of the lantern or belvedere which usually forms the finial of the greater domes of the Renaissance.

In his decorative treatment of the problem thus evolved Mr. Hunt has exercised a fine spirit of scholarly reserve. The architectural language employed is simple and stately, and the composition as a whole is so free from complications, its structural articulations are so frankly accentuated, that it is easy to read, and, being read, cannot fail to surprise the most unaccustomed mind with a distinct and veritable architectural impression. But to obtain this simplicity of result a far greater knowledge of design and far more ingenuity of adaptation have been required than if the building had been sophisticated with all the consciousness and affectations of modern art. In order to bring his design into the family of which, by the adoption of a common module of proportion, the other buildings of the groups around the great court are members, Mr. Hunt's four pavilions of administration, forming the lower story of the façades, are treated externally, like them, with a single order raised upon a basement. He has preferred the Doric in his case, so as to obtain by contrast with its neighbors an effect of severe dignity and what might be called colossal repose, and to provide for a gradual increase of enrichment in the upper parts of his monument. His second story is Ionic, with an open colonnade, or loggia, on each of the cardinal faces of the octagon, showing the inner shell behind, and with domed circular staircase pavilions of the same order on the narrower alternate sides, niched between heavy corner piers, which bear groups of statuary, thus obtaining a certain degree of movement and complication in the outlines of his design, and enhancing its pyramidal effect. On all his exterior he has used conventional ornament with great reserve, depending for richness of effect upon three colossal groups of statuary on each of his administrative pavilions, upon two, flanking each of his main entrances, and upon eight, crowning the gallery below the drum of his dome.

This sculpture, the work of Mr. Karl Bitter of New York, is characterized by great breadth

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and dignity of treatment, and by that expression of heroic power and fitness which is derived from knowing how to treat colossal subjects in a colossal way, and how to model figures so that they may assist the main architectural thought and not compete with it. Thus the groups which crown the corner piers of the four wings in the lower part of the building are in repose, and are so massed that they serve properly as monumental finials, while those surmounting the gallery above are more strongly accentuated, so as to become intelligible at that great height, and are distinguished by a far greater animation of outline and lightness of movement, by means of gesture, outspread wings, and accessories, so that they may act VOL. XLIV.-13.

FROM PHOTOGRAPH LENT BY RICHARD M. HUNT. GLORIFICATION OF WAR."

as foils to the simple and stately architectural lines of the dome, at the base of which they stand, and so that they may aid it in its upward spring. The subjects are apparently intended to typify, in a succession of groups, beginning in the lower parts of the monument, the advance of mankind from barbarism to civilization, and the final triumph of the arts of peace and war.

Unlike the other buildings of the Exposition, Mr. Hunt's has two sets of façades, an exterior and an interior. In the latter he has not repeated his exterior orders, and the same selfdenial which has chastened and purified the exterior has left these inner walls large, simple, and spacious, not even the angles of the inclos

ing octagon being architecturally emphasized axis of the court, he will see a smaller circular at any point. Each of the eight sides of this interior octagon is pierced with an archway occupied by a screen of doors below and bronze grilles above; over these is a series of panels filled with sculpture and inscriptions, and upon the great interior cornice which crowns these walls is a balcony, like the whispering-gallery of St. Paul's, by means of which the scene may be viewed from above. An order of pilasters directly under the inner dome irmounts this gallery, and the dome itself is decorated with panels, the whole interior being enriched with color, so disposed as to complete and perfect the design.

We have already said that this vestibule was intended to introduce the visitors to the Exposition into a new world. As they emerge from its east archway and enter the court, they must, if possible, receive a memorable impression of architectural harmony on a vast scale. To this end the forums, basilicas, and baths of the Roman Empire, the villas and gardens of the princes of the Italian Renaissance, the royal courtyards of the palaces of France and Spain, must yield to the architects, " in that new world which is the old," their rich inheritance of ordered beauty, to make possible the creation of a bright picture of civic splendor such as this great function of modern civilization would seem to require.

At the outset it was considered of the first importance that the people, in circulating around the court and entering or leaving the buildings, should so far as possible be protected from the heat of the midsummer sun. To assist in accomplishing this object the great quadrangle will be closed in by a series of sheltered ambulatories, like the Greek stoa, included in and forming a part of the façades of the palaces of Machinery and Agriculture on the right, and of the Liberal Arts and Electricity on the left. The vast fronts of these buildings, far exceed ing in dimensions those of any other ancient or modern architectural group, with their monumental colonnaded pavilions, their sculptured enrichments, their statuary, domes, and towers, will appear in mellowed ivory marble, relieved by decorations in color in the shadowy recesses of the porticos. Immediately before him the stranger will behold the great basin 350 feet wide and 1100 feet long, stretching eastward in the middle of the court, bordered with double walled terraces, of which the lower will be decorated with shrubbery and flowers, and the upper, with balustrades, rostral columns, vases, and statuary. Broad stairs descend from the main porticos of the buildings to the water, and the canals, which enter the basin on each side, are crossed by monumental bridges. On the nearer margin of the greater basin, and in the

basin 150 feet in diameter, on a level with the upper terrace, flanked by two lofty columns bearing eagles. In the center of this, on an antique galley of bronze 60 feet long, eight colossal rowers, portraying the Arts and Sciences, stand, four on a side, bending to their long sweeps; in the prow is poised the herald Fame, with trump and outspread wings; while aft, Time, the pilot, leans upon his helm; and, high aloft on a throne, supported by cherubs, Columbia sits, a fair, youthful figure, eager and alert, not reposing upon the past, but poised in high expectation. Eight couriers precede the barge, mounted upon marine horses ramping out of the water. The whole triumphal pageant is seen through a mist of interlacing fountain-jets, and from the brimming basin the water falls 14 feet in a series of steps into the greater sheet below, a half-circle of dolphins spouting over the cascade. This pompous allegory is the work of the sculptor Frederick MacMonnies. At the outer end of the basin a colossus of the Republic, by the sculptor Daniel C. French, rises from the water. It is treated somewhat in the Greek archaic manner, with a strong accentuation of vertical lines, but with a simplicity and breadth which give to the figure an aspect of majesty and power. Beyond it, a double open colonnade, or peristyle, 60 feet high, like that of Bernini in front of St. Peter's, forming three sides of a square, closes in the great court toward the lake. Of the two wings of this colonnade one is a concert-hall, and the other a casino or waiting-hall for passengers by boat. Its columns typify the States of the Union. In the center of this architectural screen is a triumphal arch thrown over the canal which connects the basin with the harbor. Through this and through the open screen of the colonnade one may see the widespreading lake, the watery horizon, and, still in the axis of the court and a thousand feet from the shore, a lofty pharos with an island-casino at its base. Animating the whole, banners and gonfalons flutter gaily from innumerable staffs; people of all nations walk in the shadow of the porches, linger on the bridges, crowd along the broad pavement of the terraces, and watch from the balustrades the incessant movement of many-colored boats and electric barges. upon the water.

THE palace of Mechanic Arts, or, as it may be better known, Machinery Hall, occupies a frontage of 842 feet on the south side of the court, and a depth of 500 feet, thus covering, with the main building of this department, 91⁄2 acres. These dimensions are nearly the same as those of the palace of Diocletian at Spalatro, and larger than the Parliament House of Great Britain in the proportion of 5 to 2. (The Capitol

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