given a full rehearsal it was raining slightly. The incandescence of the
great globe of the Earth, the leaping flames on the altars by the pool,
the rosy clouds over the bowls by the entrances and from the torches on
the high Altar of the Ages, became strange, mystic, almost uncanny.

Of the beautiful light that falls upon the Palace of Fine Arts (p. 137),
I can do no better than to quote from Royal Cortissoz: "At night and
illuminated, it might be a scene from Rome or from Egypt, a gigantic
ruin of some masterpiece left by Emperor or Pharaoh. The lagoon is
bordered by more of those heavenly hedges that I have described. There
are trees and thickets to add to the bewilderment of the place, to make
it veritably the silenzio verde of the poet. And with the ineffable tact
which marks the lighting of the Fair, this serene spot is left almost,
but not quite, to the dim loveliness of night. The glow that is given
its full value elsewhere is here at its faintest. The pageant ends in a
hush that is as much of the spirit as of the senses."



XIV.

Music at the Exposition



Early neglect of music by the Exposition management remedied by the
appointment of George W. Stewart, of Boston, as manager--Engagements of
Camille Saint-Saens and the Boston Symphony Orchestra the musical events
of the summer--Original compositions by the French master--Sousa and
his great band--Other notable bands--Lemare's organ concerts- Splendid