The enormous extent of the summer exodus to the mountains and the seas in America is overwhelming; and a population of sixty-five millions does not seem a bit too much to account for it. I used to think that about all the Americans who could afford to travel came to Europe. But the American tourists in Europe are, after all, but a drop in the bucket compared with the oceans of summer and winter visitors to the Adirondacks and Florida, Manitoba Springs and the coast of Maine, the Catskills and Long Branch, Newport and Lenox, Bar Harbor and California, White Sulphur Springs and the Minnesota Lakes, Saratoga and Richfield, The Thousand Isles and Martha's Vineyard, Niagara and Trenton Falls, Old Point Comfort and Asheville, the Yellowstone and the Yosemite, Alaska and the Hot Springs of Arkansas. And everywhere that the season's visitor is expected he will find hotels awaiting him that range all the way from reasonable comfort to outrageous magnificence; while a simpler taste will find a plain boarding-house by almost every mountain pool or practicable beach in the whole wide expanse of the United States. The Briton may not have yet abdicated his post as the champion traveller or explorer of unknown lands, but the American is certainly the most restless mover from one resort of civilisation to another.
Perhaps the most beautiful hotel in the world is the Ponce de Leon at St. Augustine, Florida, named after the Spanish voyager who discovered the flowery[32] State in 1512, and explored its streams on his romantic search for the fountain of eternal youth. And when I say beautiful I use the word in no auctioneering sense of mere size, and height, and evidence of expenditure, but as meaning a truly artistic creation, fine in itself and appropriate to its environment. The hotel is built of "coquina," or shell concrete, in a Spanish renaissance style with Moorish features, which harmonises admirably with the sunny sky of Florida and the historic associations of St. Augustine. Its colour scheme, with the creamy white of the concrete, the overhanging roofs of red tile, and the brick and terra-cotta details, is very effective, and contrasts well with the deep-blue overhead and the luxuriant verdancy of the orange-trees, magnolias, palmettos, oleanders, bananas, and date-palms that surround it. The building encloses a large open court, and is lined by columned verandas, while the minaret-like towers dominate the expanse of dark-red roof. The interior is richly adorned with wall and ceiling paintings of historical or allegorical import, skilfully avoiding crudity or garishness; and the marble and oak decorations of the four-galleried rotunda are worthy of the rest of the structure. The general effect is one of luxurious and artistic ease, with suggestions of an Oriental _dolce far niente_ in excellent keeping with the idea of the winter idler's home. The Ponce de Leon and the adjoining and more or less similar structures of the Alcazar, the Cordova, and the Villa Zorayda form indeed an architectural group which, taken along with the semi-tropical vegetation and atmosphere, alone repays a long journey to see. But let the strictly economical traveller take up his quarters in one of the more modest hostelries of the little town, unless he is willing to pay dearly (and yet not perhaps too dearly) for the privilege of living in the most artistic hotel in the world.