The architecture of the central group of palaces and courts is a notable departure from that of most of the expositions of the past. There are none of the over decorated facades, none of the bizarre experiments in radical styles, and little of the riot of extraneous ornament, that have 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.

The plan was worked out by a commission of architects. But the greatest credit must be given to Edward H. Bennett, who first conceived the walled-city idea, and who brought his long experience in city-planning to serve in determining the best method of utilizing the magnificent site.

The style of architecture cannot be summed up in any one name. Practically every historic style has been drawn upon, but there are very few direct copies from older buildings. The old forms have been used with new freedom, and occasionally with very marked originality. As one looks down on the whole group of buildings, the Oriental feeling dominates, due to the many Byzantine domes. In the courts and facades the Renaissance influence is strongest, usually Italian, occasionally Spanish. Even where the classic Greek and Roman elements are used, there is generally a feeling of Renaissance freedom in the decoration. One court is in a wonderful new sort of Spanish Gothic, perfectly befitting California. In the styles of architecture, as in the symbolism of painting and sculpture and in the exhibits, one feels that the East and West have met, with a new fusion of national ideals and forms.

The material used in the buildings is a composition, partaking of the nature of both plaster and concrete, made in imitation of Travertine, a much-prized building marble of Italy. This composition has the warm ochre tone and porous texture of the original stone, thus avoiding the unpleasant smoothness and glare which characterize stucco, the usual Exposition material.