Festival Hall, Robert Farquhar, architect, balances the Palace of
Horticulture in the architectural plan of the South Gardens. (p. 29.)
It, too, is French in style, its architecture suggested by the Theatre
des Beaux Arts in Paris, a design which furnished the dome necessary to
harmonize with that of the palace to the west. As architecture, however,
it fails to hold up its end with the splendid Horticultural Palace. Its
dome is too large, and has too little structure around it, to be placed
so near the ground without an effect of squattiness. Its festive
adornment is extremely moderate. On the cornice above the main entrance
is the rhyton, the ancient Greek drinking horn, symbol of festivity.

The sculpture, all done by Sherry E. Fry, carries out the same idea. The
graceful figures poised on the corner domes are Torch Bearers. On the
pylons at either end of the semicircular arcade of the main entrance are
two reclining figures. On the right is Bacchus, with his grapes and
wineskin,--a magnificently "pickled" Bacchus! On the left a woman is
listening to the strains of festal music. (p. 32.) Each of the pedestals
before the false windows at the ends of the arcade supports a figure of
Flora with garlands of flowers. On the ground below the two Floras are
two of the most delightful pieces of all the Exposition sculpture. One
is a little Pan, pipes in hand, sitting on a skin spread over an Ionic
capital. This is a real boy, crouching to watch the lizard that has
crawled out from beneath the stone. The other is a young girl dreaming
the dreams of childhood. There is something essentially girlish about
this. Unfortunately, it is now almost hidden by shrubbery.

Within Festival Hall is one of the half-dozen greatest organs in the
world. It has more than 7,000 pipes. The heaviest of them weigh as much
as 1,200 pounds apiece. Though mere size is not the essential quality of