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he South Gardens there was placed the Fountain of Energy； the design of A。 Stirling Calder； the athletic figure of a youth； mounted on a fiery horse； tearing across the globe； which served for pedestal； the symbolic figures of Valor and Fame accompanying on either side。 The work； as a whole suggested the triumph of man in overcoming the difficulties in the way； of uniting the two oceans。 It made one of the most striking of all the many fountains on the grounds； the dolphins in the great basin； some of them carrying female figures on their backs； contributing to an effect peculiarly French。
The Column of Progress
The Column of Progress； suggested by Calder and planned in outline by Symmes Richardson； besides being beautiful symbol and remarkably successful in outline； was perhaps the most poetic and original of all the achievements of the sculptors here。 It represented something new in being the first great column erected to express a purely imaginative and idealistic conception。 Most columns of its kind had celebrated some great figure or historic feat； usually related to war。 But this column stood for those sturdy virtues that were developed； not through the hazards and the excitements and the fevers of conquest； but through the persistent and homely tests of peace； through the cultivation of those qualities that laid the foundations of civilized living。 Isidore Konti designed the frieze typifying the swarming generations； by Matthew Arnold called 〃the teeming millions of men；〃 and to Hermon A。 MacNeil fell the task of developing the circular frieze of toilers； sustaining the group at the top； three strong figures； the dominating male； ready to shoot his arrow straight alit to its mark； a male supporter； and the devoted woman； eager to follow in the path of advance。
The Aim of the Sculptors
It was evidently the aim of the sculptors to express in their work； in so far as they could； the character of the Exposition。 And the breadth of the plans gave them； a wide scope。 They must have welcomed the chance to exercise their art for the pleasure of the multitude； an art essentially popular in its appeal and certain to be more and more cultivated in our every…day life。 Though this new city was to be for a year only； it would surely influence the interest and the taste in art of the multitudes destined to become familiar with it and to carry away more or less vivid impressions。
The sculpture； too； would have a special advantage。 Much of it； after the Exposition； could be transferred elsewhere。 It was safe to predict that the best pieces would ultimately serve for the permanent adornment of San Francisco … by no means rich in monuments。
Mural Painting
It was felt by the builders of the Exposition that mural decorating must be a notable feature。
The Centennial Exposition of '76 had been mainly an expression of engineering。 Sixteen years later architecture had dominated the Exposition in Chicago。 The Exposition in San Francisco was to be essentially pictorial； combining； in its exterior building； architecture； sculpture and painting。
When Jules Guerin was selected to apply the color it was decided that he should choose the mural decorators； subject to the approval of the architectural board。 The choice fell on men already distinguished。 all of them belonging to New York； with two exceptions； Frank Brangwyn of London； and Arthur Mathews； of San Francisco。 They were informed by Guerin that they could take their own subjects。 He contented himself with saying that a subject with meaning and life in it was an asset。
In New York the painters had a conference with Guerin。 He explained the conditions their work was to meet。 Emphasis was laid on the importance of their painting with reference to the tone of the Travertine。 They were instructed； moreover； to paint within certain colors； in harmony with the general color…scheme； a restriction that； in some cases； must have presented difficult problems。
The preliminary sketches were submitted to Guerin； and from the sketches he fixed the scale of the figures。 In one instance the change of scale led to a change of subject。 The second sketches were made on a larger scale。 When they were accepted the decorators were told that the final canvases were to be painted in San Francisco in order to make sure that they did not conflict with one another and that they harmonized with the general plan of the Exposition。 Nearly all the murals were finished in Machinery Hall； but most of them had been started before they arrived there。
Painting For Out…Doors
Some concern was felt by the painters on account of their lack of experience in painting for out…of…doors。 There was no telling； even by the most careful estimate； how their canvases would look when in place。 Color and design impressive in a studio might； when placed beside vigorous architecture； become weak and pale。 Besides； in this instance； the murals would meet new conditions in having to harmonize with architecture that was already highly colored。 Furthermore； no two of the canvases would meet exactly the same conditions and； as a result of the changes in light and atmospheric effects； the conditions would be subject to continual change。 Finally； they were obliged to work without precedent。 It was true that the early Italians had done murals for the open air； but no examples had been preserved。
That the painters were able to do as well as they did under the limitations reflected credit on their adaptability and good humor。 The truth was they felt the tremendous opportunity afforded their art by this Exposition。 They believed that in a peculiar sense it testified to the value of color in design。 It represented a new movement in art； with far…reaching possibilities for the future。 That some of them suffered as a result of the limiting of initiative and individuality； of subordination to the general scheme； was unquestionable。 Some of the canvases that looked strong and fine when they were assembled for the last touches in Machinery Hall became anaemic and insignificant on the walls。 Those most successfully met the test where the colors were in harmony with Guerin's coloring and where they were in themselves strong and where the subjects were dramatic and vigorously handled。 The allegorical and the primitive subjects failed to carry； first because they had little or no real significance； and secondly because the spirit behind them was lacking in appeal and； occasionally； in sincerity。
In one regard Frank Brangwyn was more fortunate than the other painters。 His murals； though intended to be displayed in the open air； were to hang in sequestered corners of the corridors running around the Court of the Ages； the court； moreover； that was to have no color。 Besides； there were no colors in the world that could successfully compete against his powerful blues and reds。
The Lighting
The lighting of the Exposition； it was determined； should be given to the charge of the greatest expert in the country。 Several of the leading electric light companies were consulted。 They agreed that the best man was Walter D'Arcy Ryan； who had managed the lighting at the Hudson…Fulton Celebration and at the Niagara Falls Exposition。 Mr。 Ryan explained his system of veiled lighting； with the source of the light hidden； and made plain its suitability to an Exposition where the artistic features were to be notable； and where they were to be emphasized at night； with the lighting so diffused as to avoid shadows。 After his appointment as director of illuminating he made several visits to San Francisco； and a year before the opening of the Exposition； he returned to stay till the close。 His plan of ornamenting the main tower with large pieces of cut glass； of many colors； to shine like jewels； created wide…spread interest on account of its novelty。 It was generally regarded as a highly original and sensational Exposition feature。
Watching the Growth
As the building went on the San Franciscans gradually became alive to the splendor。 Each Sunday many thousands would assemble on the grounds。 About a year before the date set for the opening an admission fee of twenty…five cents brought several thous