in spectacular lighting, some of the
details worked out by Ryan may be of interest. In general, the lighting
effects departed from the bizarre outline lighting in which glaring
light-sources studded the structures. The radiant grandeur and beauty
of flood-lighting from concealed light-sources was the key-note of the
lighting. In this manner wonderful effects were obtained, which not only
appealed to the eye and to the artistic sensibility but which were free
from glare. By means of flood-lighting and relief-lighting from
concealed light-sources the third dimension or depth was obtained and
the architectural details and colorings were preserved. A great many
different kinds of devices and lamps were used to make the night effects
superior in grandeur to those of daytime. The Zone or amusement section
was lighted with bare lamps in the older manner and the glaring bizarre
effects contrasted the spectacular lighting of the past with the
illumination of the future.

In another section the visitor was greeted with a gorgeous display of
carnival spirit. Beautifully colored heraldic shields on which were
written the early history of the Pacific coast were illuminated by
groups of luminous arc-lamps on standards varying from twenty-five to
fifty-five feet in height. The Tower of Jewels with more than a hundred
thousand dangling gems was flood-lighted, and the myriads of minute
reflected images of light-sources glittering against the dark sky
produced an effect surpassing the dreams of imagination. Shadows and
high-lights of striking contrasts or of elusive colors greeted the
visitor on every hand. Individual isolated effects of light were to be
found here and there. Fire hissed from the mouths of serpents and cast
the spell of mobile light over the composite Spanish-Gothic-Oriental
setting. A colored beam of a search-light played here and there.
Mysterious vapors rising from caldrons were in reality illuminated
steam. Symbolic fountain groups did not escape the magic touch of the
lighting wizard.

In the Court of the Universe great areas were illuminated by two
fountains rising about a hundred feet above the sunken gardens. One of
these symbolized the setting sun, the other the rising sun. The shaft
and ball at the crest of each fountain were glazed with heavy opal glass
imitating travertine marble and in these were installed incandescent
lamps of a total candle-power of 500,000. The balustrade seventy feet
above the sunken g