The Architecture and Landscape Gardening of the Exposition, Louis Christian Mullgardt [the kiss of deception read online txt] 📗

faithful reproduction of the great work which the Exposition commemorates, many consider it as deserving a place in the main grounds. Almost equal to this in educational interest and quite ranking it in beauty are the reproductions of the Grand Canyon with its Hopi and Navajo Indians, and Yellowstone Park. Old Faithful Inn in the latter is a favorite place for social gatherings.

For pure fun and gaiety, Toyland Grown Up, that whimsical conceit especially built for youngsters, old and young, has provided merriment for thousands. Of thrillers that raise the hair and make the heart beat high and without which no amusement section would be complete, the Zone announces its full quota with much rattling of machinery and many shrieks of joy.

And the presence of strange peoples, one of the recognized features of these places, is also noticeable along the Zone. A Maori tribe from New Zealand, Samoans, Hawaiians, Aztecs from Old Tehauntepec, and others bring their customs and costumes from unfamiliar lands.

 

The Zone The Bizarre Decorations

There is something naive about the Zone. It presents its colossal grotesques—its gargantuan Uncle Sam, its monstrous elephants—rather with an air of acknowledging that it cannot compete with the beauty one leaves behind when one turns in under its gay flags ad lanterns. Here is frankly the spirit of abandon. To the right and left the bawling barkers shout their enticements, begging one’s patronage. Up and down the street the endless patter of the feet of men and women, the wheeze of the little electrics and the blare of brassy music ebb and flow. Here and there is the dominant note of the Exposition, its pastel shades of burnt orange and red, and its indefinable blue. They flutter forth, hooped about the flagpoles with Oriental effect. Those wonderful lanterns, that delightful medieval touch which one finds through the grounds, are here employed with great effect.

When one is tired of gigantic horses with ever-impending hoofs, tired of large plaster ladies whose complete poise does not entirely atone for a rather excess of buxomness, one can always turn to these reminders of the beauty that is the essential characteristic of the Exposition itself.

 

The Fireworks Star Shells and Steam Battery

Notwithstanding the excellence attained by the Exposition in the beauty of its coloring, the poetry in its courts and architecture, the mystery and glamour of its illuminations, the spectacular element could not be overlooked. This finds expression in the fireworks that are let loose on the Marina several evenings each week. Here, however, a distinct advance has been made upon the familiar pyrotechnic display of former events. The use of powerful scintillators with their colored rays playing upon smoke clouds and flying devices from exploded bombs high in the air, or upon weird shapes of steam sent out by the engine on the border of the yacht harbor, lends infinite variety and beauty. In several of the numbers the scintillators secure the effects unaided, their lights making strange figures in the heavens. “Spooks’ Parade,” “Aurora Borealis,” “Devil’s Fan,” are some of the ideas suggested.

 

Zone Salvo The Final “Big Noise”

The Exposition Fireworks are under the direction of William D’A. Ryan, Chief of Illumination. On each occasion a set program is followed consisting of twenty-four numbers. At the opening, a salute of ten detonating bombs and a large rocket announce the event. This is followed by features of the scintillator lights, combinations of these with steam, with smoke bombs and with orange showers and Japanese daylight shells, and by fancy star shells, festoon rockets and candle fountains. The climax is reached in the Zone Salvo when a tremendous explosion of hundreds of detonating devices occurs, with rockets and star shells exploding in the air, the rays of the scintillator coloring the smoke clouds in brilliant hues; and amidst it all, high above, suddenly appears a beautiful American flag caught and followed by the ray of a powerful white searchlight as it floats away from sight.

 

Here ends The Architecture and Landscape Gardening of the Exposition, with an introduction by Louis Christian Mullgardt. The descriptive titles have been written by Maud Wotring Raymond and John Hamlin. Edited by Paul Elder. Published by Paul Elder and Company and seen through their Tomoye Press under the typographical direction of H. A. Funke in the city of San Francisco during the month of September, Nineteen Hundred and Fifteen.

 

End of the Project Gutenberg EBook of The Architecture and Landscape Gardening of the Exposition, by Louis Christian Mullgardt

*** END OF THE PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION ***

This file should be named algex10.txt or algex10.zip Corrected EDITIONS of our eBooks get a new NUMBER, algex11.txt VERSIONS based on separate sources get new LETTER, algex10a.txt

Produced by David A. Schwan

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the US unless a copyright notice is included. Thus, we usually do not keep eBooks in compliance with any particular paper edition.

We are now trying to release all our eBooks one year in advance of the official release dates, leaving time for better editing. Please be encouraged to tell us about any error or corrections, even years after the official publication date.

Please note neither this listing nor its contents are final til midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg eBooks is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so.

Most people start at our Web sites at: http://gutenberg.net or http://promo.net/pg

These Web sites include award-winning information about Project Gutenberg, including how to donate, how to help produce our new eBooks, and how to subscribe to our email newsletter (free!).

 

Those of you who want to download any eBook before announcement can get to them as follows, and just download by date. This is also a good way to get them instantly upon announcement, as the indexes our cataloguers produce obviously take a while after an announcement goes out in the Project Gutenberg Newsletter.

http://www.ibiblio.org/gutenberg/etext03 or ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

Just search by the first five letters of the filename you want, as it appears in our Newsletters.

 

Information about Project Gutenberg (one page)

We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any eBook selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. Our projected audience is one hundred million readers. If the value per text is nominally estimated at one dollar then we produce $2 million dollars per hour in 2002 as we release over 100 new text files per month: 1240 more eBooks in 2001 for a total of 4000+ We are already on our way to trying for 2000 more eBooks in 2002 If they reach just 1-2% of the world’s population then the total will reach over half a trillion eBooks given away by year’s end.

The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks! This is ten thousand titles each to one hundred million readers, which is only about 4% of the present number of computer users.

Here is the briefest record of our progress (* means estimated):

eBooks Year Month

1 1971 July 10 1991 January 100 1994 January 1000 1997 August 1500 1998 October 2000 1999 December 2500 2000 December 3000 2001 November 4000 2001 October/November 6000 2002 December* 9000 2003 November* 10000 2004 January*

 

The Project Gutenberg Literary Archive Foundation has been created to secure a future for Project Gutenberg into the next millennium.

We need your donations more than ever!

As of February, 2002, contributions are being solicited from people and organizations in: Alabama, Alaska, Arkansas, Connecticut, Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, and Wyoming.

We have filed in all 50 states now, but these are the only ones that have responded.

As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states. Please feel free to ask to check the status of your state.

In answer to various questions we have received on this:

We are constantly working on finishing the paperwork to legally request donations in all 50 states. If your state is not listed and you would like to know if we have added it since the list you have, just ask.

While we cannot solicit donations from people in states where we are not yet registered, we know of no prohibition against accepting donations from donors in these states who approach us with an offer to donate.

International donations are accepted, but we don’t know ANYTHING about how to make them tax-deductible, or even if they CAN be made deductible, and don’t have the staff to handle it even if there are ways.

Donations by check or money order may be sent to:

Project Gutenberg Literary Archive Foundation PMB 113 1739 University Ave. Oxford, MS 38655-4109

Contact us if you want to arrange for a wire transfer or payment method other than by check or money order.

The Project Gutenberg Literary Archive Foundation has been approved by the US Internal Revenue Service as a 501(c)(3) organization with EIN [Employee Identification Number] 64-622154. Donations are tax-deductible to the maximum extent permitted by law. As fund-raising requirements for other states are met, additions to this list will be made and fund-raising will begin in the additional states.

We need your donations more than ever!

You can get up to date donation information online at:

http://www.gutenberg.net/donation.html

***

If you can’t reach Project Gutenberg, you can always email directly to:

Michael S. Hart <hart@pobox.com>

Prof. Hart will answer or forward your message.

We would prefer to send you information by email.

 

**The Legal Small Print**

 

(Three Pages)

***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START*** Why is this “Small Print!” statement here? You know: lawyers. They tell us you might sue us if there is something wrong with your copy of this eBook, even if you got it for free from someone other than us, and even if what’s wrong is not our fault. So, among other things, this “Small Print!” statement disclaims most of our liability to you. It also tells you how you may distribute copies of this eBook if you want to.

BEFORE! YOU USE OR READ THIS EBOOK By using or reading any part of this PROJECT GUTENBERG-tm eBook, you indicate that you understand, agree to and accept this “Small Print!” statement. If you do not, you can receive a refund of the money (if any) you paid for this eBook by sending a request within 30 days of receiving it to the person you got it from. If you received this eBook on a physical medium (such as a disk), you must return it with your request.

ABOUT PROJECT GUTENBERG-TM EBOOKS This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks, is a “public domain” work distributed by Professor Michael S. Hart through the Project Gutenberg Association (the “Project”). Among other things, this means that no one owns a United States copyright on or for this work, so the Project (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth below, apply if you wish to copy and distribute this eBook under the “PROJECT GUTENBERG” trademark.

Please