The St. Louis Exposition was its first creation in the twentieth century, and, for that reason, acutely interesting. One saw here a third-rate town of half-a-million people without history, education, unity, or art, and with little capital — without even an element of natural interest except the river which it studiously ignored — but doing what London, Paris, or New York would have shrunk from attempting. This new social conglomerate, with no tie but its steam-power and not much of that, threw away thirty or forty million dollars on a pageant as ephemeral as a stage flat. The world had never witnessed so marvellous a phantasm by night Arabia's crimson sands had never returned a glow half so astonishing, as one wandered among long lines of white palaces, exquisitely lighted by thousands on thousands of electric candles, soft, rich, shadowy, palpable in their sensuous depths; all in deep silence, profound solitude, listening for a voice or a foot-fall or the plash of an oar, as though the Emir Mirza were displaying the beauties of this City of Brass, which could show nothing half so beautiful as this illumination, with its vast, white, monumental solitude, bathed in the pure light of setting suns. One enjoyed it with iniquitous rapture, not because of exhibits but rather because of their want. Here was a paradox like the stellar universe that fitted one's mental faults. Had there been no exhibits at all, and no visitors, one would have enjoyed it only the more.
Here education found new forage. That the power was wasted, the art indiflerent, the economic failure complete, added just so much to the interest. The chaos of education approached a dream. One asked one's self whether this extravagance reflected the past or imaged the future; whether it was a creation of the old American or a promise of the new one. No prophet could be believed, but a pilgrim of power, without constituency to flatter, might allow himself to hope. The prospect from the Exposition was pleasant; one seemed to see almost an adequate motive for power; almost a scheme for progress. In another half-century, the people of the central valleys should have hundreds of millions to throw away more easily than in 1900 they could throw away tens; and by that time they might know what they wanted. Possibly they might even have learned how to reach it.
This was an optimist's hope, shared by few except pilgrims of World's Fairs, and frankly dropped by the multitude, for, east of the Mississippi, the St. Louis Exposition met a deliberate conspiracy of silence, discouraging, beyond measure, to an optimistic dream of future strength in American expression. The party got back to Washington on May 24, and before sailing for Europe, Adams went over, one warm evening, to bid good-bye on the garden-porch of the White House. He found himself the first person who urged Mrs. Roosevelt to visit the Exposition for its beauty, and, as far as he ever knew, the last.
He left St. Louis May 22, 1904, and on Sunday, June 5, found himself again in the town of Coutances, where the people of Normandy had built, towards the year 1250, an Exposition which architects still admired and tourists visited, for it was thought singularly expressive of force as well as of grace in the Virgin. On this Sunday, the Norman world was celebrating a pretty church-feast — the Fete Dieu — and the streets were filled with altars to the Virgin, covered with flowers and foliage; the pavements strewn with paths of leaves and the spring handiwork of nature; the cathedral densely thronged at mass. The scene was graceful. The Virgin did not shut her costly Exposition on Sunday, or any other day, even to American senators who had shut the St. Louis Exposition to her — or for her; and a historical tramp would gladly have offered a candle, or even a candle-stick in her honor, if she would have taught him her relation with the deity of the Senators. The power of the Virgin had been plainly One, embracing all human activity; while the power of the Senate, or its deity, seemed — might one say — to be more or less ashamed of man and his work. The matter had no great interest as far as it concerned the somewhat obscure mental processes of Senators who could probably have given no clearer idea than priests of the deity they supposed themselves to honor — if that was indeed their purpose; but it interested a student of force, curious to measure its manifestations. Apparently the Virgin — or her Son — had no longer the force to build expositions that one cared to visit, but had the force to close them. The force was still real, serious, and, at St. Louis, had been anxiously measured in actual money-value.
That it was actual and serious in France as in the Senate Chamber at Washington, proved itself at once by forcing Adams to buy an automobile, which was a supreme demonstration because this was the form of force which Adams most abominated. He had set aside the summer for study of the Virgin, not as a sentiment but as a motive power, which had left monuments widely scattered and not easily reached. The automobile alone could unite them in any reasonable sequence, and although the force of the automobile, for the purposes of a commercial traveller, seemed to have no relation whatever to the force that inspired a Gothic cathedral, the Virgin in the twelfth century would have guided and controlled both bag-man and architect, as she controlled the seeker of history. In his mind the problem offered itself as to Newton; it was a matter of mutual attraction, and he knew it, in his own case, to be a formula as precise as s = gt^2/2, if he could but experimentally prove it. Of the attraction he needed no proof on his own account; the costs of his automobile were more than sufficient: but as teacher he needed to speak for others than himself. For him, the Virgin was an adorable mistress, who led the automobile and its owner where she would, to her wonderful palaces and chateaux, from Chartres to Rouen, and thence to Amiens and Laon, and a score of others, kindly receiving, amusing, charming and dazzling her lover, as though she were Aphrodite herself, worth all else that man ever dreamed. He never doubted her force, since he felt it to the last fibre of his being, and could not more dispute its mastery than he could dispute the force of gravitation of which he knew nothing but the formula. He was only too glad to yield himself entirely, not to her charm or to any sentimentality of religion, but to her mental and physical energy of creation which had built up these World's Fairs of thirteenth-century force that turned Chicago and St. Louis pale.
"Both were faiths and both are gone," said Matthew Arnold of the Greek and Norse divinities; but the business of a student was to ask where they had gone. The Virgin had not even altogether gone; her fading away had been excessively slow. Her adorer had pursued her too long, too far, and into too many manifestations of her power, to admit that she had any equivalent either of quantity or kind, in the actual world, but he could still less admit her annihilation as energy.
So he went on wooing, happy in the thought that at last he had found a mistress who could see no difference in the age of her lovers. Her own age had no time-measure. For years past, incited by John La Farge, Adams had devoted his summer schooling to the study of her glass at Chartres and elsewhere, and if the automobile had one vitesse more useful than another, it was that of a century a minute; that of passing from one century to another without break. The centuries dropped like autumn leaves in one's road, and one was not fined for running over them too fast. When the thirteenth lost breath, the fourteenth caught on, and the sixteenth ran close ahead. The hunt for the Virgin's glass opened rich preserves. Especially the sixteenth century ran riot in sensuous worship. Then the ocean of religion, which had flooded France, broke into Shelley's light dissolved in star-showers thrown, which had left every remote village strewn with fragments that flashed like jewels, and were tossed into hidden clefts of peace and forgetfulness. One dared not pass a parish church in Champagne or Touraine without stopping to look for its window of fragments, where one's glass discovered the Christ-child in his manger, nursed by the head of a fragmentary donkey, with a Cupid playing into its long ears from the balustrade of a Venetian palace, guarded by a legless Flemish leibwache, standing on his head with a broken halbert; all invoked in prayer by remnants of the donors and their children that might have been drawn by Fouquet or Pinturicchio, in colors as fresh and living as the day they were burned in, and with feeling that still consoled the faithful for the paradise they had paid for and lost. France abounds in sixteenth-century glass. Paris alone contains acres of it, and the neighborhood within fifty miles contains scores of churches where the student may still imagine himself three hundred years old, kneeling before the Virgin's window in the silent solitude of an empty faith, crying his culp, beating his breast, confessing his historical sins, weighed down by the rubbish of sixty-six years' education, and still desperately hoping to understand.
He understood a little, though not much. The sixteenth century had a value of its own, as though the ONE had become several, and Unity had counted more than Three, though the Multiple still showed modest numbers. The glass had gone back to the Roman Empire and forward to the American continent; it betrayed sympathy with Montaigne and Shakespeare; but the Virgin was still supreme. At Beauvais in the Church of St. Stephen was a superb tree of Jesse, famous as the work of Engrand le Prince, about 1570 or 1580, in whose branches, among the fourteen ancestors of the Virgin, three-fourths bore features of the Kings of France, among them Francis I and Henry II, who were hardly more edifying than Kings of Israel, and at least unusual as sources of divine purity. Compared with the still more famous Tree of Jesse at Chartres, dating from 1150 or thereabouts, must one declare that Engrand le Prince proved progress? and in what direction? Complexity, Multiplicity, even a step towards Anarchy, it might suggest, but what step towards perfection?