barn like effect was avoided. In the triple gables, also, the three
central aisles which distinguish the interior show in the outer
structure. Under the gables the huge clerestory windows above the
entrances relieve the great expanse of the end walls. Similar windows
open up the walls above the flat-topped wings. In the main entrance, the
gables are deepened to form a huge triple vestibule where the row of
columns is repeated. The long side walls are relieved by pairs of
decorated columns flanking the minor entrances.

Thus, by entirely simple devices, the long lines and vast expanses of
wall are deprived of monotony. The architect has given majesty to the
palace, not merely a majesty of hugeness, but of just proportions and
dignified simplicity. In the general architectural scheme of the
Exposition it forms one end of the main group of palaces, at the other
end of which is set the Palace of Fine Arts. Machinery Hall, with its
severe massiveness and solidity, is a balance to the poetry and
spirituality of the Fine Arts.

The main entrance is on the west side, looking down the avenue between
the Palaces of Mines and Varied Industries. Perhaps it is better,
though, to take a first view of the sculptural decoration at the
entrance at either the north or the south end, where almost everything
is shown that appears in the more complicated main vestibule.

The three clerestory windows make three arches with four piers. In front
of each pier stands a great Sienna column crowned with one of four
symbolic figures, each, in the strength of the male, emblematic of
force. First on the left is "Electricity," grasping the thunderbolt, and
standing with one foot on the earth, signifying that electricity is not
only in the earth but around it. The man with the lever that starts an