. The San Diego garden fair; personal impressions of the architecture, sculpture, horticulture, color scheme & other aesthetic aspects of the Panama California International Exposition . ted to set right intheir minds the true meaning of this muchabused term. To a great many it is an originalproduct of California, absolutely detached fromany style of the past — to others a recent pro-duction of the Stickley Brothers furniture closer investigation it presents, however, suchfascinating genealogy that I am tempted to losemyself in it for a while, because I believe it willvery materially
. The San Diego garden fair; personal impressions of the architecture, sculpture, horticulture, color scheme & other aesthetic aspects of the Panama California International Exposition . ted to set right intheir minds the true meaning of this muchabused term. To a great many it is an originalproduct of California, absolutely detached fromany style of the past — to others a recent pro-duction of the Stickley Brothers furniture closer investigation it presents, however, suchfascinating genealogy that I am tempted to losemyself in it for a while, because I believe it willvery materially assist in an aesthetic appre-ciation of the Exposition ensemble, and alsolead back into the realms of the Spanish-Mexicanstyle, of which it is an offshoot. It is not fair, in my estimation, to use theword style in connection with the architecturalefforts of the Spanish padres, since their workwas not the evolution of an original architecturalexpression. First of all, these men were noarchitects, nor even men of special artistic per-ception, their efforts in building being directedsolely towards the erection of a shelter. Thesestructures were of profound simplicity in them- [14]. OVER THE PUENTE CABRILLO TOWARDS THE EXPOSITION THE GENEALOGY OF THE ARCHITECTURE selves and curiously devoid of the heavy orna-mentation of the parent style — the SpanishColonial of Mexico, from which they weredirectly derived. This intimate connection witha gorgeously decorative style may seem impos-sible at first glance, since the most pronouncedcharacteristic of the Spanish Colonial style is aluxurious ornateness, suggesting at times greatsplendor, while the frugality of the Missionstyle revives memories of the very earliestarchitectural efforts of prehistoric times in itsrestriction to simple constructive forms andabsolute lack of ornamentation. But this appar-ent inconsistency can be explained only by thefact that these monks were no architects andthat all they could do was to produce a veryfe
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