Exposition. There is no harmony whatever in the Zone anywhere, either in
the form, style, or color, unless it be the harmony of ugliness which is
carried through this riotous mêlée of flimsiness and sham. I cannot help
but feel that this hodgepodge will convince the most doubting Thomas who
might believe in the mob rule of hundreds of conflicting tastes. The
Zone is not an improvement on similar things in former Expositions. Save
for certain minor exceptions at the entrance, it will serve as a
wonderfully effective illustration of the taste of the great masses of
the people, and as a fine business investment.

So far, we have moved only along the east and west axis of the
Exposition. The north and south development is not without its charm.
The terraced city of San Francisco, on the south, without a doubt looks
best on a densely foggy day. With its fussy, incongruous buildings - I
hesitate to call them architecture - it serves hardly as a background
for anything, let alone a group of monumental buildings. The opposite
side, where nature reigns, atones for multitudes of sins that man
committed on the city's hills. But how great an opportunity there was
lost! There are, however, some indications at the western end of
Broadway that give fine promise for the future.

The bay and its background of rising hills and blue mountain sides
provide, the wonderful setting that so charmingly holds the Exposition.
The general arrangement of the Exposition pays its respects to the bay
at every possible angle. The vistas from the three courts towards the
bay are the pièces de résistance of the whole thing. It was a fine idea,
not alone from an economic point of view, to eliminate the two arches
which appeared in the original plan at the end of the avenues running
north from the Court of the Four Seasons and the Court of Abundance.
There is hardly anything more inspiring than to stand in any of the