The Architecture and Landscape Gardening of the Exposition A Pictorial Survey of the Most Beautiful Achitectural Compositions of the Panama-Pacific International — Inside the Classic

The Phantom Kingdom Metaphor

Mullgardt's introduction establishes a conceptual lens for viewing the exposition. He describes these temporary worlds as independent kingdoms 'wherein the people do everything but sleep,' governed by a 'National Constitution' that commands 'the Spirit of beauty, refinement, education, culture and frolic.' The metaphor extends to the physical setting: the fair occupies a 'wonderful valley bordering on a great sea,' surrounded by 'high velvet hills of fine contour.' This language—'phantom kingdom,' 'magic growth,' 'mushroom and the moonflower'—colors the entire survey, inviting readers to see the built environment as both ephemeral and monumental. The dedication 'to the spirit of Community Loyalty' and 'generous Collective Energy' reinforces the idea that the exposition was a collaborative achievement, a point Mullgardt returns to when describing the work of multiple architects and sculptors.

The Court of the Universe and Its Arches

The descriptive text for the Court of the Universe offers a detailed walkthrough of its triumphal arches, designed by McKim, Mead and White. Mullgardt notes that the arches are 'magnificent modern expressions of the arches erected by the old Romans,' adorned with sculpture by various artists. He describes the Arch of the Setting Sun and the Arch of the Rising Sun, each surmounted by symbolic groups representing the 'Nations of the West' and 'Nations of the East,' respectively. The arches are treated both by day and by night: by day, they display 'rich and varied' color manipulation and decorative treatment; by night, they gain 'majesty and mysterious power' through concealed lighting that picks out sculptural groups. Specific details include twisted columns of Sienna marble, 'composite, mingling Corinthian and Ionic elements,' each crowned with a sculptured figure representing the 'Angel of Peace' by Leo Lentelli. Between the columns, a 'burnt orange medallion' with figures in relief suggests Nature and Art. The text also mentions latticed windows in green, a frieze in relief, and 'Cleopatra's needle, four times repeated' on the parapet.

Fountains and Symbolism

Mullgardt devotes attention to the fountains within the courts, particularly the Fountain of the Rising Sun in the eastern portion of a sunken garden. He describes a 'tall, slender shaft, a column of travertine by day and a column of light by night,' supporting a sphere with a statue typifying 'the dawn of day.' The sculptor, Adolph A. Weinman, is credited for this 'Rising Sun,' which Mullgardt notes is 'deservedly popular on account of the irresistible appeal of the youthful figure.' The symbolism of the exposition is explicitly tied to the completion of the Panama Canal: the Court of the Universe embodies 'the final meeting of the Nations of the World.' This thematic thread connects the architectural features—arches, fountains, and courts—to a broader narrative of global unity. Mullgardt's descriptions consistently link physical details (materials, colors, lighting) to symbolic meaning, as when he notes that the 'atmosphere of bigness' in the Court of the Universe is created by both architectural features and the symbolism of international convergence.

Structure and Voice of the Survey

The book's structure alternates between photographic plates and descriptive text. Mullgardt's prose is precise and evocative, often blending technical observation with poetic imagery. For example, he describes architecture as 'nestling like flamingoes with fine feathers unfurled within a green setting' when viewed from hilltops or ships. The text is organized by court or building, with each section detailing specific architectural elements, sculptors, and materials. The author's voice is authoritative yet lyrical, reflecting his dual role as architect and commentator. He frequently notes the collaborative nature of the work, naming architects (W. B. Faville, McKim, Mead and White) and sculptors (A. Stirling Calder, Frederick G. R. Roth, Leo Lentelli, B. Bufano, Adolph A. Weinman). The survey does not provide a comprehensive history of the exposition but rather a curated selection of its most 'beautiful architectural compositions,' as the subtitle indicates. Readers should expect a focused visual and verbal tour rather than a chronological narrative.

Mullgardt's survey rewards readers who attend to both the specific architectural details—the Sienna marble columns, the burnt orange medallions, the travertine shafts—and the overarching metaphor of the phantom kingdom. The text is best read alongside the photographs it describes, as the author's observations about light, color, and scale are often keyed to visual evidence. For a first reading, note how Mullgardt moves between the concrete and the symbolic, and how he credits the many artists and architects who contributed to the fair. This is not a general history but a personal, architect's-eye view of a temporary city.

Mullgardt’s fair was a phantom kingdom, all light and arch and vanished delight. Years of shelving taught me that child’s eye mirrors this: each masterwork a tiny, eternal exposition. Both books keep their magic by not needing it explained. There is a quiet kinship there, between the temporary court and the permanent picture—each invites a long, slow look, then lets the heart carry the rest. Pictures Every Child Should Know A Selection of the World's Art Masterpieces for Young People — A Closer Reading holds that same patient glow.