Palaces and Courts of the Exposition - Juliet James

Machinery Palace

Architects - Ward and Blohme of San Francisco.

The palace is one of grandeur, dignity and great beauty.

The architecture has been inspired by such old Roman thermae as the Baths of Caracalla, the Baths of Titus and the like.

The ornamentation is of the Italian Renaissance style, worked out on a building that in form suits the needs of a great palace of machinery.

The gable points at the top of the western façade are such as one sees in the restoration of the Baths of Caracalla.

The first and only other expression of this style in America is seen in the Pennsylvania Station of New York City.

In the Transportation Palace can be seen a model of the proposed plan for a new Union Depot for Chicago, with a similar gabled effect.

The three arches reflect on the exterior the three aisles of the same portion of the palace within.

The great columns in front, and also in the vestibule, simulate Siena marble.

The entablature carried across the faces of the arches supports American eagles by C. A. Humphries.

Eagles are also seen at the corners of the Corinthian capitals. This bird of freedom can be found all over the Exposition.

Notice that Mr. Jules Guerin, the great color wizard, leads you by means of the blue ground of the capitals, the blue between the dentils, the blue between the consoles to the blue sky above.

The principal lighting is by great clerestory windows - great windows at the north and the south ends - also by skylights.

The building covers nine acres, and is the largest wooden structure in the world. It is about three blocks long.

The statues as well as the reliefs are by Haig Patigian of San Francisco.

Vigorous types like machinery itself are used.

The generation, transmission and application of power as applied to machinery are most interestingly represented.

The decorated drums of the columns show the Genii of Machinery.

The eyes of these figures are closed, reminding you that power comes from within.

Notice how from any point of view your figures suggest support at the sides of the drum.

The very position of the arms gives you a strong feeling of support.

The figures on the spandrels represent the application of power to machinery.

The figures on the pedestals represent:

1. "Steam Power" with the lever that starts the engine.

2. "Invention" showing a more intellectual type of face, carrying the figure with wings spread, suggesting the flight of thought. This thought, as it were, is above the world.

3. "Electricity" with foot on the earth, suggesting that electricity is not only in the earth, but around it. He carries his symbol, electricity.

4. "Imagination," showing man with his eyes closed - seeing within. The bird of inspiration, the eagle, is about to take flight.

The wings on the head suggest the rapidity of thought or action.

Inside this great palace one sees the latest inventions in machinery. Ponderous machines capable of shaping tons of metal, great labor-saving machines, and all sorts of electrical appliances. "Safety first" is a pronounced feature of this exhibit.

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Machinery Palace Architects - Ward and Blohme of San Francisco. The palace is one of grandeur, dignity and great beauty. The architecture has been inspired by such old Roman thermae as the Baths of Caracalla, the Baths of Titus and the like. The ornamentation is of the Italian Renaissance style, worked out on a building that in form suits the needs of a great palace of machinery. The gable points at the top of the western façade are such as one sees in the restoration of the Baths of Caracalla. The first and only other expression of this style in America is seen in the Pennsylvania Station of New York City. In the Transportation Palace can be seen a model of the proposed plan for a new Union Depot for Chicago, with a similar gabled effect. The three arches reflect on the exterior the three aisles of the same portion of the palace within. The great columns in front, and also in the vestibule, simulate Siena marble. The entablature carried across the faces of the arches supports American eagles by C. A. Humphries. Eagles are also seen at the corners of the Corinthian capitals. This bird of freedom can be found all over the Exposition. Notice that Mr. Jules Guerin, the great color wizard, leads you by means of the blue ground of the capitals, the blue between the dentils, the blue between the consoles to the blue sky above. The principal lighting is by great clerestory windows - great windows at the north and the south ends - also by skylights. The building covers nine acres, and is the largest wooden structure in the world. It is about three blocks long. The statues as well as the reliefs are by Haig Patigian of San Francisco. Vigorous types like machinery itself are used. The generation, transmission and application of power as applied to machinery are most interestingly represented. The decorated drums of the columns show the Genii of Machinery. The eyes of these figures are closed, reminding you that power comes from within. Notice how from any point of view your figures suggest support at the sides of the drum. The very position of the arms gives you a strong feeling of support. The figures on the spandrels represent the application of power to machinery. The figures on the pedestals represent: 1. "Steam Power" with the lever that starts the engine. 2. "Invention" showing a more intellectual type of face, carrying the figure with wings spread, suggesting the flight of thought. This thought, as it were, is above the world. 3. "Electricity" with foot on the earth, suggesting that electricity is not only in the earth, but around it. He carries his symbol, electricity. 4. "Imagination," showing man with his eyes closed - seeing within. The bird of inspiration, the eagle, is about to take flight. The wings on the head suggest the rapidity of thought or action. Inside this great palace one sees the latest inventions in machinery. Ponderous machines capable of shaping tons of metal, great labor-saving machines, and all sorts of electrical appliances. "Safety first" is a pronounced feature of this exhibit.