large area on either side, covered with objects of interest.

The main exposition, composed of a compactly arranged group of large
buildings of approximately equal size, is symmetrically placed on either
side of the main central court, the Court of the Universe. This sends
out its avenues into two equally proportioned side courts - the Court of
the Four Seasons on the west and the Court of Abundance on the east.
While the main court rests right in the center of the eight buildings,
the side courts fit snugly into the center of the four buildings on
either side. This arrangement of large masses, comprising the bulk of
the Exposition, creates a grateful feeling of repose and of order,
without being in the least uninteresting, for while there is perfect
symmetry, on the one hand, in the larger masses, there is plenty and
ever changing variety in the minor architectural forms and
embellishments. The same balance, the same interesting distribution of
architectural masses, continues on either side of the main building. In
Machinery Hall, on the one hand, and the Fine Arts Palace on the western
side, perfect balance is again maintained. That is, however, not the end
of it all. Loosening up in a very subtle way, we find cleverly arranged
the buildings of the various States of the Union and of Foreign Nations
on the western side of the Fine Arts Palace, while at the other
extremity of the main group, screened by Machinery Hall, is the
amusement section, officially labeled "The Zone."

I do not suspect that the Zone is intended to give any artistic thrills.
If so, I would propose to call it "The Limit," and so I drop it as a
subject for further artistic, reference. It is invaluable, however, as
an object lesson in showing the fatal results of the utter disregard of
all those fundamental laws of balance, harmony, and unity so uniformly
and persistently applied through the seriously designed main body of the