The Decoration of the Woman's Building at the Columbian Exposition

Source: The Decorator and Furnisher , Mar., 1894, Vol. 23, No. 6 (Mar., 1894), pp. 221-
222
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 d .
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X THE DECORATION OF THE WOMAN'S bearer of burdens, typified by a band of girls carrying water
BUILDING AT THE COLUMBIAN jars. In the foreground a maiden bathes a laughing child in a
clear stream, while a mother advances towards the water,
EXPOSITION. bearing two children in her arms. - On the extreme left we see
the sturdy daughters of the plow driving a yoke of milk white
HE many illustrations that have beenoxen. A band of sowers seatters the grain in the new made fur
published of the Woman's Building at rows, while one tired girl, kneelilg in the foreground, drinks
the Columbian Exposition have madefrom a vase. The background of trees and water and distant
the general features of the uniqueland is excellently treated. The dark figures of two horsemen
strncture already well known to our are to be seen at the extreme right. - Mrs. MacMonnies' work
readers. The building is in the style ofis of a high order; it shows a true decorative sense, a sure
the villas of the Italian Renaissance,hand, and a fresh, joyous imagination. Artistically. and intel
and is divided into two stories, which leetually it is a composition which commends itrelf.,to all tboFe
-. * S 2are clearly indicated by the lines of
the exterior. The Hall of Honor forms
* m | the middle of the structure, a noble
* .B apartment rising to the full height of
the building, surrounded by a lower
two-story structure, forming the four
faeades, which contain the minor halls
and offices required for committee and
exhibition rooms. The building, as-a
whole, when seen from the water side,
exhibits the feminine qualities of re
serve, delicacy and refinement. There
is a central entrance and a pavilion at each end, connected by
an arcades. The main entrance has three arches, and is sur
mounted by a loggia, enclosed by a colonnade, over which rises
the pediment. The loggia connects with the balcony, which
runs from the central entrance to the pavilions, and is enriched
with pilasters of the Corinthian order. Over the pavilions are
roof gardens, surrounded by an open screen of light Ionic col
umus, with caryatides over the loggia below.
The decoration which enriches the outlines, the arches and
enriches the exterior is most appropriate. The finely modeled
pediment, and the- eight typical groups of sculpture surmount
ing the open screen. around the roof garden are in harmony
with the purity, simplicity and dignity of the building, proving
that Miss Rideout, the young Californian sculptor of these
charming groups, worked in perfect harmony with the archi
?teet, Miss Sophia Hayden, of Boston, a gradu'ate of the Massa
\husetts School of Technology.
The interior decoration is as appropriate and simple as the
exterior decoration. Touches of gold here and there relieve the
purity of its whiteness. The Hall of Honor is unbroken by
pillars or supports, and rises grandly to its 70 feet of height. It
is 67f feet wide and 200 feet long. Honored names are here
written in letters of gold-the names of women great in art, in
thought, in science, in statecraft and in literature. Side by side
with the sovereigns of Europe-Isabella, Elizabeth and Victoria
-are the names-of the workers, the seere, the pioneers who
long ago laid thd true foundation for this building.
DNcoRAT1vE PAN.L. SuajEcT. THE WoEre or PLvrowe. Br Lucu FAM-HID
It is the interior decoration of the building that will most
interest our readers. Among the decorations of the entrance
hall is a decorative panel representing a caravel of the time who
of understand and honor the idea for which 'Our building
Columbus, filled with modern figures, by Louise Abbema, of stands. .
France. The central
The north tympanum of the hail is enriched by a decora young wom
tive painting by Mrs. Frederick MacMonnies, representing the right-is a b
Primitive Woman. At the other end Miss Mary Cassatt pre upon a strin
sents her conception of Modern Woman. Mrs. MacMonnies' attitudes of
subject is well chosen and ably treated. On the extreme right a flying fig
we have a single male figure, a hunter clad in alpins-he has border' of th
just returned from the chase. A group of women and children beautifully
bear away the game he has killed, and minister to his wants. received ord
A kneeling girl crushes a bunch of grapes into a cup to refresh Woman's B
the tawny giant. In the middle grouping we have women, the Paris and se

821
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 TKEDECORATORA~~~~~ND FURNIS1IER. D
r 1' E ECRAORA
I'll\ 4
Four large decorative panels enrich the sides illustrates
of the hall. it very sympathetically. It was quite fittin
New England's contribution to the decoration ofgreat the Woman's
White City, the echo of Hellenic beauty, tha
Building is shown in one; of. these large panels, which illustrates
should be an Arcadian corner, and it is not unsuitable t
the duties and avocations of "The Women of Plymouth,"
should fiud the
this in the Woman's Building.
pilgrim mothers and daughters. The painter, Miss The Lucia Fair
pair of panels which are placed opposite to tho
child, of Boston, a young artist of great promise, has choFen
described are the work of those popular painters, Rosina
for her subject a group of women engaged in domestic
Sherwood labor.
and Lydia Emmet. Mrs. Sherwood's panel sh
In the foreground a kneeling girl is washiDg dishes in Republic
the a pool of welcoming her daughters and bestowing
still water; one of her sisters stands beside her drying a pewter
crowns upon them. The composition of this panel is very
basin. On the left, -under the porch of a humble andcottage, a
the arehitectural details of the background is well s
mother stands, holding an infant in her arms. A girl sits by
her spinning wheel, whose threads have become entangled. One
young matron holds a distaff, while a girl beside her is stitch
ing on a white garment. At a little distance a group of children
surround their teacher, who, with an open book upon her
knees, is holding school out of doors. It is the springtime of
the year and of the nation; from the green plain stretching
toward the distant sea, the trees lift their budding branches.
Ia the background we have the traditional white meeting
house, with its single spire, and over a newly broken road a
pair of oxen draw a cart laden with wood; the man wbo
drives them is necessarily a very small figure in this large, sim
ple composition. The whole seene breathes the atmosphere of
that early New England which has found its best interpreter in
Hawthorne. The harsh, but not inhospitable Plymouth coast,
and the hardy settlers whose courage and resolution laid the
foundations of the New England we know to-day, have been
sketched by the young artist with a strong hand. The color
scheme is cool and sober; the dress and bearing of the women
:16~~~~~~~~~~~~
reserved, simple and full of character. The thought behind the
picture needs no criticism, it is an assertion of the prime duties
of women, the home-maker and caretaker; it is a hint full of
significance to our day and generation, reminding us that unlees
the higher education now open to our sex makes women better
and wiser wives and mothers, it is a failure.

VECORATIVE PANEL. SuwJecT, THE REPUBLIC'S WELCOME TO HER DAUG

RosINA EHmET SHERWOOD.

Miss Emmet's companion panel is strong in the same q

as her sister's. Music, art and literature are all person
an exceedingly well arranged group of female figures.

PAINTING A PRETTY COTTAGE.

BY A. ASHMUN KELLY.

.;;,i' ji. 'jT? the earnest student, the study of color

T is one full of never ending delight and
4N J B _ * wholesome interest, and he finds ever
increasing cause in bounteous Nature for
loving this beautiful science. All her
n S M 1 various seasons, marked by their separ
ate characteristics of aspect, present a
tireless change of form and color, of
moods and surprises for him, so that he
4 is scarcely done studying the one pres
entation of unique loveliness ere the
DECORATIVE PANEL. SUBJECT, ARCADI. BY AMANDA BREaWTER SVEELL. scene shifts and still another is thrust
upon his lingering, raptured view. The
No stronger contrast to Miss Fairchild's decoration can be tender green and waxen white coloriDg
Imagined than that presented by the neighboring panel, of the spring, the richer green of the
" Women in Arcadia," by Amanda Brewster Sewell. fresh
The summer,
former its cerulean skies and soft, slumberous cloudletp
the soberer
represented a cool demure springtime on the Plymouth coast. array of autumn, the brown and gold of lat
In Arcadia it is warm, luxurious summer. The colorautumn, and
is rich andfinally the sombre grays of early winter, and th
snow and the bare, brown trees of late winter. All these thing
deep; the pair of half nude girls in the foreground have a pagan
areare
loveliness; the distant group gathering oranges fraught with color and harmony for the color-lovin
fair as
dream women. Mrs. Sewell bas found the way tostudent, andand
Arcadia, so intimate with her does he finally beoome that

222

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