jewels suspended from the altar.  In the center of the curtain was a huge jeweled eagle bearing the Allied flags.  This was illuminated by arc-projectors which delivered 200,000,000 beam candle-power.  In addition to these there were many smaller projectors.  In the top of each candelabra six large red-and-orange lamps were installed in reflectors.  These illuminated live steam which issued from the top.  Surmounting the whole was a huge luminous fan formed by beams from large arc search-lights.  These are only a few of the many lighting effects which welcomed the returning soldiers, but they illustrate how much modern civilization depends upon artificial light for expressing its feelings and emotions.  Throughout all these festivals light silently symbolized happiness, freedom, and advancement.

Projectors were used on a large scale in several cases before the advent of the concentrated filament lamp.  W. D’A.  Ryan, the leader in spectacular lighting, lighted the Niagara Falls in 1907 with batteries of arc-projectors aggregating 1,115,000,000-beam candle-power.  In 1908 he used thirty arc-projectors to flood the Singer Tower in New York with light and projected light to the flag on top by means of a search-light thirty inches in diameter.  Many flags waved throughout the war in the beams of search-lights, symbolizing a patriotism fully aroused.  The search-light beam as it bores through the atmosphere at night is usually faintly bright, owing to the small amount of fog, dust, and smoke in the air.  By providing more “substance” in the atmosphere, the beams are made to appear brighter.  Following this reasoning, Ryan developed his scintillator consisting of a battery of search-light beams projected upward through clouds of steam which provided an artificial fog.  This was first displayed at the Hudson-Fulton celebration with a battery of arc search-lights totaling 1,000,000,000-candle-power.

All these effects despite their magnitude were dwarfed by those at the Panama-Pacific Exposition, and inasmuch as this up to the present time represents the crowning achievement 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.