remained a vivid, humiliating memory. A catastrophic fire in Jackson Park could destroy the fair. Yet within the park fire was central to the construction process. Plasterers used small furnaces called salamanders to speed drying and curing. Tinners and electricians used fire pots for melting, bending, and fusing. Even the fire department used fire: Steam engines powered the pumps on the department’s horse-drawn fire trucks.
Burnham established defenses that by prevailing standards seemed elaborate, even excessive. He formed an exposition fire department and ordered the installation of hundreds of fire hydrants and telegraphic alarm boxes. He commissioned the construction of a fire boat, the
With the onset of winter Burnham ordered all hydrants packed in horse manure to prevent freezing.
On the coldest days the manure steamed, as if the hydrants themselves were on fire.
When Sol Bloom returned to the office of Mike De Young, he was confident De Young could not possibly accept his salary request, for he had decided to ask for the same salary as the president of the United States: $50,000. “The more I thought about it,” Bloom recalled, “the more I enjoyed the prospect of telling Mike De Young that no less a sum could compensate me for my sacrifice in leaving San Francisco.”
De Young offered Bloom a seat. His expression was sober and expectant.
Bloom said: “Much as I appreciate the compliment, I find that my interests lie right here in this city. As I look ahead I can see myself—”
De Young cut him off. Softly he said, “Now, Sol, I thought you were going to tell me how much you wanted us to pay you.”
“I didn’t want you to think I didn’t appreciate—”
“You said that a minute ago,” De Young said. “Now tell me how much money you want.”
This was not going quite the way Bloom had expected. With some trepidation, Bloom told him the number: “A thousand dollars a week.”
De Young smiled. “Well, that’s pretty good pay for a fellow of twenty-one, but I have no doubt you’ll earn it.”
In August, Burnham’s chief structural engineer, Abraham Gottlieb, made a startling disclosure: He had failed to calculate wind loads for the fair’s main buildings. Burnham ordered his key contractors—including Agnew & Co., erecting the Manufactures and Liberal Arts Building—to stop work immediately. For months Burnham had been combating rumors that he had forced his men to work at too fast a pace and that as a result some buildings were unsafe; in Europe, press reports held that certain structures had been “condemned.” Now here was Gottlieb, conceding a potentially catastrophic error.
Gottlieb protested that even without an explicit calculation of wind loads, the buildings were strong enough.
“I could not, however, take this view,” Burnham wrote in a letter to James Dredge, editor of the influential British magazine
Gottlieb resigned. Burnham replaced him with Edward Shankland, an engineer from his own firm who possessed a national reputation as a designer of bridges.
On November 24, 1891, Burnham wrote to James Dredge to report that once again he was under fire over the issue of structural integrity. “The criticism now,” he wrote, “is that the structures are unnecessarily strong.”
Bloom arrived in Chicago and quickly discovered why so little had been accomplished at the Midway Plaisance, known officially as Department M. Until now it had been under the control of Frederick Putnam, a Harvard professor of ethnology. He was a distinguished anthropologist, but putting him in charge of the Midway, Bloom said years later, “was about as intelligent a decision as it would be today to make Albert Einstein manager of the Ringling Brothers and Barnum & Bailey Circus.” Putnam would not have disagreed. He told a Harvard colleague he was “anxious to get this whole Indian circus off my hands.”
Bloom took his concerns to Exposition President Baker, who turned him over to Burnham.
“You are a very young man, a very young man indeed, to be in charge of the work entrusted to you,” Burnham said.
But Burnham himself had been young when John B. Sherman walked into his office and changed his life.
“I want you to know that you have my full confidence,” he said. “You are in complete charge of the Midway. Go ahead with the work. You are responsible only to me. I will write orders to that effect. Good luck.”
By December 1891 the two buildings farthest along were the Mines Building and the Woman’s Building. Construction of the Mines Building had gone smoothly, thanks to a winter that by Chicago standards had been mercifully benign. Construction of the Woman’s Building, however, had become an ordeal, both for Burnham and its young architect, Sophia Hayden, mainly because of modifications demanded by Bertha Honore Palmer, head of the fair’s Board of Lady Managers, which governed all things at the fair having to do with women. As the wife of Potter Palmer, she was accustomed by wealth and absolute social dominance to having her own way, as she had made clear earlier in the year when she suppressed a revolt led by the board’s executive secretary that had caused open warfare between factions of elegantly coiffed and dressed women. In the thick of it one horrified lady manager had written to Mrs. Palmer, “I
Hayden came to Chicago to produce final drawings, then returned home, leaving their execution to Burnham. Construction began July 9; workers began applying the final coat of staff in October. Hayden returned in December to direct the decoration of the building’s exterior, believing this to be her responsibility. She discovered that Bertha Palmer had other ideas.
In September, without Hayden’s knowledge, Palmer had invited women everywhere to donate architectural ornaments for the building and in response had received a museum’s worth of columns, panels, sculpted figures, window grills, doors, and other objects. Palmer believed the building could accommodate all the contributions, especially those sent by prominent women. Hayden, on the other hand, knew that such a hodgepodge of materials would result in an aesthetic abomination. When an influential Wisconsin woman named Flora Ginty sent an elaborately carved wooden door, Hayden turned it down. Ginty was hurt and angry. “When I think of the days I worked and the miles I traveled to achieve these things for the Woman’s building, my ire rises a little yet.” Mrs. Palmer was in Europe at the time, but her private secretary, Laura Hayes, a gossip of virtuosic scope, made sure her employer learned all the details. Hayes also relayed to Palmer a few words of advice that she herself had given the architect: “‘I think it would be better to have the building look like a patchwork quilt, than to refuse these things which the Lady Managers have been to such pains in soliciting.’”
A patchwork quilt was not what Hayden had in mind. Despite Mrs. Palmer’s blinding social glare, Hayden continued to decline donations. A battle followed, fought in true Gilded Age fashion with oblique snubs and poisonous courtesy. Mrs. Palmer pecked and pestered and catapulted icy smiles into Hayden’s deepening gloom. Finally Palmer assigned the decoration of the Woman’s Building to someone else, a designer named Candace Wheeler.
Hayden fought the arrangement in her quiet, stubborn way until she could take it no longer. She walked into Burnham’s office, began to tell him her story, and promptly, literally, went mad: tears, heaving sobs, cries of anguish, all of it. “A severe breakdown,” an acquaintance called it, “with a violent attack of high nervous excitement of the brain.”
Burnham, stunned, summoned one of the exposition surgeons. Hayden was discreetly driven from the park in one of the fair’s innovative English ambulances with quiet rubber tires and placed in a sanitarium for a period of enforced rest. She lapsed into “melancholia,” a sweet name for depression.
