CHAPTER V.

THE PERISTYLE AND COURT OF HONOR.

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Columned Splendor Indeed — The Impressive Beauties of the Greek Peristyle — Nothing Like It Has
Ever Been Seen or Attempted— Music Hall and Casino — The Pier and Moveable Sidewalk — The
Court of Honor by Day and by Night — Statue of the Republic and MacMonnies Shio of State —
The Illuminated Fountains.

OLUMNED splendor indeed. The portals of the World's Co-
lumbian Exposition look out on the blue waters of Lake
Michigan. A Greek peristyle, white and colossal, faces the
waves which less than a century ago bore the canoe of the
Indian, the boat of the adventurous trader. What if this
stately portico had flashed on the vision of Marquette or La
Salle when they sailed along these shores in the seventeenth
century, each the Columbus of our inland seas? Either
would have thought that solitude had made him mad. What
if this columned splendor had broken on the dying gaze of
those first settlers of Chicago who only four score years ago
were massacred on these very sands by savages ? Those mar-
tyrs of civilization would have accepted such a glimpse as the
threshold of the mystical City of the Soul.

On a ruder and a wider sea than this tossed the caravels of the Genoan
sailor 400 years ago. In the dreams that mocked this world-finder in his hours of
sleep, was there not a forecast of the great white temple of humanity which the dis-
tant future would erect to the glory of his name? Surely this vision of the future
was given to encourage. him in the dark hours of his voyage, or at least to solace
him in chains.

Let us look at this peristyle and its surroundings. Nothing like it has ever
been seen or attempted. It is grand and impressive, commanding and beautiful.
The Peristyle is 600 feet long, 60 feet wide and 60 feet high. At its center is a
grand archway, forming a portal from Lake Michigan to the Grand Central Court.
This portal is dedicated to Columbus, and is inscribed with the names of the world's
great explorers. Crowning it is a group of statuary, emblematic of the progress
of the world. The Peristyle bears forty-eight columns, representing the states and
territories. Each state's column bears its coat of arms. The cost of the Peristyle,
with the Casino and Music Hall was $303,000.

The latter, which is located at the northerly end of the great Peristyle, is 140
feet wide by 246 feet long, and about 65 feet high. The main audience room is in

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HISTORY OF THE WORLD'S FAIR.

the center of the building, and is 126 feet long by the full width of the same, and
occupies the full height of the structure. The space for the orchestra and chorus
is at the east end, and it is in the form of a great hemicycle or recess, which opens
into the main hall by an arch 66 feet wide and 54 feet high. The recess is semi-
circular in plan at the rear and 50 feet deep from the front of the arch to the back of
the circle. The ceiling of this recess or hemicycle is shaped like a quarter section
of a sphere, so that the sound of the music is projected forward into the audience
room just outside of the arch on the main floor is the platform for the orchestra
with the chorus rising behind on a series of wide steps. To the west of the orchestra

is the parquette,
which seats from 800
to 1,000 persons.
These seats are also
arranged on wide
steps or platforms
which rise gradually

to the rear end, thus

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giving an uninter-
rupted view of the
stage and conductor
to every person. All
around this par-
quette, except on the
side occupied by the
stage, is a loggia or
passage about 20 feet
wide, connecting with
the main hall by
many wide doorways,
thus giving ample
space for the entrance
and exit of the au.
dience with comfort and celerity. Above this loggia, which is about 20 feet high at
the exterior wall and 14 feet high at the inner wall next the parquette, is the great
balcony, which seats about 1,200 persons. The seats here are also arranged on rising
steps, so that every one has a perfect view of the stage and of the audience in the
parquette below. The seats of the balcony sweep round in a semi-circle at the west
end opposite the stage, thus giving the audience room and the stage combined the
form of a great oval. Around the front of the balcony are Corinthian columns which
support the roof, and over the inner space is a large skylight which gives ample light
by day. Around the rear of the balcony are also a series of large windows command-
ing a view of the great court on the south and the lake on the north. The main en-
trance is at the west end through three wide archways into a great vestibule 60x80
feet, and thence through three great openings into the loggia about the parquette.

EAST SIDE OF PERISTYLE, LOOKING NORTH.

442

HISTORY OF THE WORLD'S FAIR.

MOVING SIDEWALK.

On each side of this vesti-
bule are wide and easy stair-
ways, giving access to the
balcony and second story
of the building, and over
the vestibule is a smaller
hall 60x80 feet in size, which
is for a recital hall, etc.
Opening off this hall are
several rooms, suitable for
offices or dressing rooms
about 25x40 feet each.
Openingupon thevestibule,
loggia and the balcony
above are large and nu-
merous dressing and cloak
rooms of about the same
size as above. At the other
end and opening from each
end of the orchestral plat-
form are rooms for the ac-
commodation of the Di-
rector of Music and the
principal singers and per-
formers, with ample toilet
rooms connected therewith.
At the rear of the hem-
icycle are large rooms for
the chorus, and reached by
private entrance directly
from the seats. Above these
rooms are others of the
same size which are used
for meetings and as offices
for the Bureau of Music.
There is a third floor, which
also contains several large
rooms forgeneral purposes.
On this floor and over the
balcony is a large standing
place of the same size as
the balcony below, which
opens upon the main hall,
through a series of arched
openings in the coved ceil-

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444 HISTORY OF THE WORLD'S FAIR.

ing of the audience room, which will hold a great many people in case of an extra,
occasion, and is reached by ample stairways. The interior of the hall is richly
decorated in color, with emblematic paintings on the face of the east wall above
the great arch, and in the panels of the ceiling. It has been specially planned
for acoustic effect. The great arch of the hemicycle is richly ornamented
with architectural detail, and the whole can be brilliantly lighted by electricity
in the most novel effects. The architecture of the exterior is like that of the Casino
and Peristyle — Roman Corinthian — and richly ornamented in detail. Around
the entablature above the columns are inscribed the names of the greatest com-
posers and on the pedestals of the balustrade surmounting the cornice are placed
many statues, 12 feet high, emblematic of the art of music.

The Casino, one of the most popular structures on the grounds, is located at
the south end of the Peristyle, and its dimensions are the same as the Music Hall
at the north end, 140x260 feet. It contains restaurants and resting rooms as a part
of the Bureau of Public Comfort, and is a favorite resort for visitors.

Reaching out into the lake is an immense pier, half a mile in length, contain-
ing the movable sidewalk.

Immediately west of the noble Peristyle and connected with it is the famous
Cour d'Honneur, the most attractive and spectacular part of the grounds. There
is not a prettier stretch of landscape at Jackson Park than this, and to fully appre-
ciate its grandeur, one must take a somber bodied and brilliantly canopied Vene-
tian gondola and gently traverse the grand basin — which is the central star in the
terrestrial Pleiades. Lining the water's edge appear the tall, straight rostral
columns supporting the figure of Neptune, who stands grasping his trident, with
disheveled hair falling about his shoulders, and eyes fixed seaward, while Tritons
sport all around. To the west is the Columbus memorial, whose grand conception
has already made Sculptor MacMonnies famous. The idea of the fountain is that
of an apotheosis of modern liberty — Columbia — and takes the shape of a triumphal
barge, guided by Time, heralded by Fame, and rowed by eight young female stand-
ing figures, representing the arts and industries.

Between these two groups of rowers rises a massive pedestal with E Pluribus
Unum enscrolled across the forward panel. On this pedestal rests a smaller, sup-
ported by four kneeling children, while seated aloft is Columbia, the principal figure
of the fountain. Dignified of bearing, her right arm placed lightly on the back of
her chair, her left supporting a flaming torch, her feet upon the globe, she fittingly
personifies the proud young nation she represents. Erect, alert, with head held
high, she seems to go serenely where time and fame conduct. Around the basin in
which the fountain plays are columns 50 feet high, surmounted with eagles, and
about the edge are groups of fantastical marine monsters, half horse, half fish, rear-
ing as though about to plunge, and spouting heavy streams of water from their nos-
trils. The smallest figures are over 12 feet, while the highest are over 20, and it is
the largest and most beautiful fountain thus far ever produced.

By a deft movement of his single oar the gondolier has turned his slender
craft about and the shimmering waters of the lake are seen through the graceful

HISTORY OF THE WORLD'S FAIR.

445

columns of the Peristyle. These columns remind one very much of the Bernini at
Rome in the court of St. Peter's. Between the Peristyle and the head of the basin
towers the majestic "Statue of the Republic." Though 75 feet high and the largest
effigy in the world, Sculptor French has embodied it with such ease of pose, dignity
and commanding presence, that, gigantic as it is, it seems perfectly in unison with
its noble surroundings. The statue grasps in her left hand a pole draped with a
pennant and surmounted with a liberty cap, while the right arm is stretched upward
to its utmost length, the hand upholding a globe on which an eagle rests with out-
spread wings. The drapery lays in heavy fold on the arms and shoulders and falls
in graceful lines on the sides. A sword is pendant from the right side and the

features wear a look
of proud contentment
and happiness. The
head is very similar to
the profile on the Amer-
ican silver dollar, and
the statue strikingly
resembles Bartholdi's
"Liberty" in the New
York harbor. Marble
stairs lead up from the
waterway on every
side; stone and iron
balustrades adorned
with urns over-running
jvith trailing vines and
brilliant blossoms, put
an abrupt termination
to the velvet and ver-
dant lawns that are
CASINO. gently terraced to the

stone wall that rises

from the water and confines its banks, as the Seine is confined through Paris.
Wonderfully beautiful is all this, and creates a sort of bewildering admiration;
to think that with canal, gondola and the plaintive love song of the gondolier, one
is after all not in Venice. Then rising all about are the wonderful structures —
seeming marble palaces— the Agricultural, Machinery Mines and Mining, Elec-
trical and the leviathan Manufactures buildings, while the Administration building
fills a like position to the Kohinoor in the British crown. And this is the Court
of Honor seen by sunlight, the tiny dancing waves caressing the sides of the
diminutive craft, with snowy swans and ducks gliding about in stately beauty. The
brilliant colorings and creamy whiteness of the buildings almost dazzle the eye in
the noonday heat.

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448

HISTORY OF THE WORLD'S FAIR.

But fancy one's self on the scene, gondola included, after dark, the cooling
breezes from the lake ruffling the water and fanning the cheek and the gorgeous
fete de nuit in full progress! All the surrounding buildings are ablaze with opales-
cent light. The basin is necklaced with a double string of brilliants, . and the
domes, the arches, the pinnacles, the turrets, the pavilion roofs and angles stand
out against the sable mantel of night in golden chains of luminous glory. The
gilded dome of the Administration building at first seems a floating crown of a
myriad of diamonds, then rests upon an iridescent pillow fringed with strung
jewels and beads of fire. The MacMonnies ship of state sails majestically in a
sea of flame. The magical effect of the prismatic rays cast from the concealed
heights upon each arching jet is most enchanting, and every change of the color

scheme proves more
charming. One is carried
back to the Paris of 1889,
and again sits in the
Champs de Mars in wrapt
admiration of the electri-
cal fountain of that day,
and wonders if all the new
revelations can be more
enjoyed, or if the cup of
pleasure was full at that
time. That was the first
thing of the kind attempt-
ed, and this far eclipses
it! All the while the
search lights have been
traversing the heavens;
now shooting far across
the lake and picking out
a tiny sailboat; nowlight-
ing upon the airy Diana; emblazoning the statue of the Republic and adding glory
to the fountain. Bits of daylight pluck the gems of the court out of the grasp
of night and bathe them in midday splendor.

A writer in the Los Angeles Heraldic in ecstacy over the Court of Honor,
the Peristyle, and the Lagoons, as follows:

Perhaps the most attractive part of the World's Fair grounds is that section
known as the Cour d 'Honneur or Grand Plaza. In the center lies the basin, while
all about, above the velvety and terraced lawns, are ranged the greatest structures
of Jackson Park. Agricultural Hall and the Palace of Mechanic Arts to the south,
the Manufactures, Mining and Electrical to the north, the stately golden domed
Administration building to the west, while the Music Hall, Casino and Peristyle en-
close the square. Broad brick and concrete walks run all around the water's edge,
which is protected by heavy balustrades surmounted with urns over-running with

PUBLIC COMFORT BUILDING.

HISTORY OF THE WORLD'S FAIR. 449

trailing vines and brilliant blossoms. At the end of the Grand Basin in front of
the Administration building is the MacMonnies "Barge of State," the largest fount-
ain in the world. Heralded by Fame, guided by Time and rowed by eight young
female figures in allegory, with Columbia representing this proud young nation,
seated far aloft, the whole idea is meant as an apotheosis to modern liberty. Rising
from the lagoon at the other extreme end is the golden statue of the Republic.
Though 75 feet high and the largest effigy in the world, Sculptor French has em-
bodied it with such ease of pose, dignity and commanding presence, that, gigantic
as it is, it seems perfectly in unison with its noble surroundings. Just back are seen
the graceful columns of the Peristyle. This colonnade connects the Music Hall
and Casino, uniting in the center in the Columbus Memorial Arch surmounted with
the masterful Quadriga, while way below is one of the water entrances to the lake,
under-spanning bridges and the arch. Each Corinthian column represents one of
the states of the Union, while the whole is capped with a hundred statues of heroic
size.

The lagoon system at the Exposition is a grand success. There is nothing
so delightful and romantic as to take one of the many electric or steam launches
or better still a gondola, and traverse its many miles of canals, past marble palaces
and magnificent flower gardens, under arching bridges, skirting landscape, forests
and stately villas. The musical dip, dip, of the quill like oars, the plash of crystal
fountains, the squawking and bleating of many water fowls, and the moving panorama
of international scenes makes this ride one of the features of the Fair.

More than a dozen of these slender craft have been brought from Venice
with their sturdy gondoliers. Those who have seen the beautiful "Bride of the
Sea" will hardly recognize in these swift flying flashes of the rainbow and rowers
in fantastic garb, the black bodied gondola of the native canals and their propellers
in blue jeans, white blouse and scarlet sash, which the Chicago boats are supposed
to represent. But be their hue correct or no, the traveling in one is none the less
enchanting. They are about thirty-five feet long, the improved style having fierce
dragons rampant upon the prow, the blue, yellow, green and purple bodies orna-
mented with silver and gold scrolls and strange looking fishes, serpents and sea
monsters. The awnings are of a corresponding color and decoration. A few are
more sombre in tone, having the genuine steel prow curving comb-like high to fore
and aft, and shining in the sunlight like a burnished blade of a sword. On the oc-
casion of the fete de nuit, there is no better way of enjoying its splendor than to
charter one of these and gently glide from place to place. Many of the gondoliers
have fine voices, and the mellow cadence of their dulcet love songs, accompanied
by the melodious twang of the guitar or mandolin fill the air with sweet melody.
On a moonlight night or in the luminious glow of electric illumination, one seems
to be gliding on to an enchanted land on the rhythmical flow of song.

HISTORY OF THE WORLD'S FAIR. 45I