World’s Columbian Exposition The Art and Architecture. The Edition of the Republic in Eleven Parts, Printed and Published by George Barrie, Philadelphia
Eleven parts in elephant folio, 16″ x 22″, each part in hard paper covers, laid into its accompanying Morocco folder.
Sunset
North-west Pavilion Palace of Machinery From Roof of Manufactures Building
Painter: André Castaigne
Facsimile-Photogravure
M. Andre Castaigne – whose knowledge of the Exposition grounds, at all hours and in all seasons, is probably greater than that of any other artist who has devoted himself to illustrating them, and who, moreover, has brought to this task an almost unexampled talent – has here shown us a novel bird’s-eye view, looking westward, at the golden hour of sunset. Below us are a few of the long row of bannarets that flaunt along the interminable roof of the great Manufactures Building, beyond are seen the pleasant paths and copses of the Wooded Isle, the dome and the long south wing of the Horticultural palace, the unlovely edges of the Chicago suburbs now veiled in haze and distance, and beyond, on the horizon, the great oval of the Ferris Wheel. Overhead, two intrepid voyagers commit themselves to the hazards of the pathless air, content to wave adieu to the heedless saunters below, ere they disappear from sight in the sunset sky.
Published by Art and Architecture
The Golden Doorway
Painted by Felicien De Myrbach for Art and Architecture
Facsimile Photogravure
The name of this very clever artist first became known in this country by the series of brilliant little illustrations scattered through the pages and on the margins of the famous “Tartarin” romances of Daudet. The most concise and spirited of these small scenes were signed by Rossi and Myrbach, and it is the latter of these who has painted the sunny little color study here reproduced in photogravure in colors, and of which the famous “Golden Door” of the Transportation Building furnishes the theme. This beautiful Romanesque archway, covered with intricate and decorative mouldings, flanked and surmounted by bolder reliefs representing primitive and modern methods of travel, and apparently built of the solid metal, will be appreciatively remembered by every visitor to the Exposition.”
Published in Art and Architecture
North-west Pavilion Palace of Machinery
Painter: Aug. Fr. Gorguet
The artist here represented one of the two imposing facades of this building, those which face on the Grand Court of Honor and the South Canal. For the general style of this “Palace of Mechanical Arts,” the architects, Messrs. Peabody and Stearns, of Boston, have chosen the best models of the Spanish Renaissance, from Seville and other cities – this being in honor of the Spanish discovery of America. In the background the artist has introduced one of those handsome four-in-hand coaches which, as the most dignified and exclusive method of reaching the Fair from the city by public conveyance, were extensively patronized during the summer. The contrast between this very modern turn-out and the stately Old-World architecture was only one of the innumerable ones to be met with at this International Exposition.
From Art & Architecture.
Administration Building and Columbian Fountain
Painter: Hugh Ditzler
Etched by Gaston-Louis Rodriguez
“The designing and construction of the Administration Building – which may be said to be the Capitol of the White City – was entrusted to one of the eldest and most distinguished of American architects, Mr. Richard M. Hunt, of New York. Its central position, its size, and the height and beauty of its gilded dome render it one of the most prominent and important buildings of the Exposition. It is in the form of four pavilions, 84 feet square, one at each of the four angles of the square of the planes, and connected by a great central dome, 120 feet in diameter and 250 feet high. In the centre of each facade is a recess, 32 feet wide, within which is a grand entrance to the building. The first story is of the Doric order, of heroic proportions, and crowned by a lofty balustrade; at the angles of each pavilion, and also on the story above, at the base of the dome, the piers are crowned with groups of sculpture, from the designs of Mr. Carl Bitter. The second stage, or story, of the building, of the same height as the first, 65 feet, is a continuation of the central rotunda, 175 feet square, surrounded on all sides by an open colonnade, 20 feet wide and 40 feet hight, with columns four feet in diameter. The third stage consists of the base of the great dome, 30 feet in height, and the dome itself, which rises in graceful lines and is richly ornamented with moulded ribs and sculptured panels. It is covered with aluminum bronze. Rising at the head of the great basin, opposite the eastern entrance of this building, is the monumental fountain executed by Frederick Macmonnies, representing the triumphal barge of “America,” steered by Time, heralded by Fame, and rowed by eight standing figures representing on one side the Arts, and on the other, Science, Industry, Agriculture and Commerce. The barge is preceded by rearing sea-horses, mounted by sturdy youths, and surrounded by a system of jets of water – some of them springing from a great half circle of dolphins in the rear – which almost conceal it an the youthful figure of America who sits enthroned on high. On each side rise columns surmounted by eagles, and at night the whole is brilliantly illuminated by the great electric fountains, one on each side of this monumental group.”
Published in Art and Architecture
Central Pavilion Horticulture Hall
Painter: L. Marold
Photogravure
The Horticultural Building before which this pleasant party are seated on the grass, is one of the largest and most important of the buildings at Jackson Park away from the great plaza or court of honor. Its huge dome, seen rising high against the sky in this picture, is one of the most prominent objects on the Exposition grounds, being 187 feet in diameter and 113 feet high. The plan of this edifice is a central pavilion with two end pavilions, each connected with the central pavilion by front and rear curtains. The dimensions of the whole are 250 by 998 feet, with eight greenhouses, 24 by 100 feet each. The architect was Mr. W. L. B. Jenney of Chicago. The central entrance, shown at the right of this picture, in front of the great dome, faces eastward, on the lagoon, with a circular fountain in front.
South Entrance of Electricity Building
Painter: Richard Jack
Published in Art and Architecture
For the first time in the history of International Exhibitions a great building has been set apart entirely for electrical exhibits. That at Jackson Park is one of the most important edifices around the great Quadrangle or Court of Honor, and one of the largest buildings of the Fair. In extent it covers nearly five and a half acres; its dimensions are 345 by 690 feet. The general scheme of the plan is based upon a longitudinal nave, 115 feet wide and 114 feet high, crossed in the middle by a transept of the same width and height. The exterior walls are composed of a continuous Corinthian order of pilasters, 3 feet 6 inches wide and 42 feet high, supporting a full entablature, and resting upon a stylobate 8 feet 6 inches long. The total height of the walls from the grade outside is 68 feet 6 inches. At each of the four corners of the building is a pavilion, above which rises an open tower 169 feet high. Intermediate between these corner pavilions and the central pavilions on the east and west sides there is a subordinate pavilion, bearing a low square dome upon an open lantern. An open portico extends along the whole of the south facade, the lower or Ionic order forming an open screen in front. In the centre of this facade is the main entrance, under an open portico, richly ornamented with color, and protecting in the middle of the entrance the heroic statue of Benjamin Franklin by the sculptor Carl Rohl-Smith. The architects are Van Brunt and How, Kansas City, Mo.
Horticultural Hall, Interior of the Great Dome
Painted by Paul Sinibalid
Photogravure
“The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, “elk horns,” a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest – much as the painter has here shown.”
Published in Art and Architecture
The Plaisance
Painter: Andre Castaigne
The Oriental section of the Plaisance, as everybody knows, is situated near the centre of the long enclosure, on both sides of the central avenue, and the locality of M. Castaigne’s sunny and picturesque view will be recognized by all who have traversed this wonderful street of the nations. On the left is the sale of various Oriental merchandise. Other merchants camp out in the open, on a carpet with their wares, as shown in the picture, and the scene becomes so very Eastern that all this appears to be natural and familiar, and only the Western visitors with their incongruous dark garments and obtrusive ways seem out of place.
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In the Grand Plaza of the Exposition
Painter: L. Marchetti
In this very handsome composition an attempt has been made by one of the most brilliant painters of the cheerful and sumptuous and ornamental aspects of life to present a glimpse of the beauty of the Columbian Exposition in one of its finest aspects. The point of view taken is from the south side of the Grand Plaza, or Court of Honor, looking eastward towards the lake, and near the northeasterly corner of the Machinery Building. The handsome porches and domes seen behind the principal figures in the foreground are those of the Agricultural Building, two of the tall rostral columns at each end of the little arched bridge that leads to this building are seen, and beyond, the long colonnade of the Peristyle with its central archway. Overhead is the blue and white summer sky, and through this ornate and pompous scene the crowd of pleasure seekers wander leisurely, very much as M. Marchetti has shown them.
Published in Art and Architecture
PRINTING
National Manufacture of the Gobelins
Woven by E. Marie (1889-1893)
After the Painting by F. Ehrmann
“This is one of a pair of companion panels in tapestry exhibited by the Gobelins manufactory in the French section of the great building of Manufactures and the Liberal Arts. Both of these were executed from the designs of the painter, Francois Ehrmann, who has furnished this great art establishment with many of its most admirable compositions. This one was woven by E. Marie, and personifies the printers’ art by the figure of a young woman who has just “pulled” a proof on her hand press and holds it aloft in triumph so that we may read, – et la lumiere fut, “and there was light.” At her feet may be seen some of the implements of her trade, and beyond, between two interesting Renaissance arches, the blue sky and a laurel tree. The border of this work is a graceful, conventional design of arabesques and medallions, and at the bottom appear the signatures of the painter and the tapestry worker.”
ILLUMINATING
National Manufacture of the Gobelins
Woven by Michel (1888-1892) After the Painting by F. Ehrmann
This is one of a pair of companion panels in tapestry exhibited by the Gobelins manufactory in the French section in the great Manufactures Buildings, both of them from the designs of the painter, Francois Ehrmann, and the present one executed in tapestry by M. Michel. The beautiful mediaeval art of illuminating is here personified by a graceful Muse, draped in yellow and blue, who stands meditatively, with one knee on the lower seat of a high reading desk on which she has placed the folio on which she is at work. In the distance may be seen the Gothic arches and blue sky of a grat open court. The border is composed of handsome arabesques and medallions, in the Renaissance manner, and the work is signed by both the painter and the tapestry weaver. In general design and color this is considered to be one of the masterpieces of the Gobelins work.
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