been characteristic of typical "exposition architecture." The whole
spirit here is one of seriousness, of dignity, of permanency. The
effects are obtained by the use of long unbroken lines, blank wall
spaces, perfect proportioning, and a restrained hand in decoration.
Color alone is relied upon to add the spirit of gayety without which the
architecture might be too somber for its joyous purpose.

The ground plan is remarkable for its perfect symmetry. On the main east
and west axis are grouped eight palaces, about three interior courts. At
the east end the axis is terminated by the Palace of Machinery, which
cuts off the main group from the Zone. On the west the axis is
terminated by the Fine Arts Palace, which separates the central group
from the state and foreign buildings. The main cross axis is terminated
at the south by the Tower of Jewels and the Fountain of Energy, and at
the north by the Column of Progress on the Marina. The two minor cross
axes end at the south in the Horticulture Palace and Festival Hall-the
two great domed structures that naturally would separate themselves from
the main plan and at the north these axes open on the Marina and the
beautiful bay view.

This plan is admirably compact. It has the effect of a walled city,
giving a sense of oneness from without, and a sense of shelter from
within. The plan eliminated the usual great distances between exhibit
halls, at the same time providing protection against the winds that
occasionally sweep over the Exposition area. More important still, the
throwing of the finer architectural effects into the inner courts
allowed freedom in individual expression. In the court system the
architects obtained unity with great variety of style, and harmony
without monotony.