第47章

Figures below "Ceres" on drum represent carefree nature.In deep relief.

cameo-like.Figures of women, gracefully modeled, with garlands and tambourines.

Satyrs spout water into bowl of fountain.

Trees, yews in couples, on either side of walks and center of lawn;redwoods and eucalypti at sides of entrance to court.

Shiny-leaved dark green shrub, on borders in court, coprosma.

Mass of green, placed at end of court to hide Morro Castle.Deepens intimate note of court.

French lighting standards at north end of court, by Ryan and Denneville.

Aisle of SunsetAisle approaching the Palace of Fine Arts, leading from Court of Four Seasons, west to Administration Avenue, by Faville.

Central portal, Spanish Renaissance, with twisted Byzantine columns.

Globe above, symbolical of universal education.

Main sculptural group: "Education," by Gustave Gerlach, Weehawken, New Jersey.Tree of knowledge in background.Left, kindergarten stage.

Center, half-grown children.Right, man working out problems for himself.

Below, open book of knowledge radiating light in all directions.Small figures draw aside curtains of darkness and ignorance.Hour-glass, "Time Flies." Crown, for seekers of knowledge.

Educational panels inlaid in wall over smaller entrances, by pupils of School of Sculpture of Beaux Arts Architects, and National Sculpture Society.

Woman teacher, by W.H.Peters.

Man teacher, by Cesare Stea.

"Victory," on gables of buildings, by Louis Ulrich, of New York;"Acroterium"; like "Victory of Samothrace."Charm of green lattice-work in small doorways of palace.

Main doorway, Palace of Food Products, by Faville.Terra cotta effect on sides of door.Eagles above door, inspiration.Green lattice-work in doors.

Administration AvenueWest wall, magnificent; facing Palace of Fine Arts, broken by Aisle of Spring, and two large Roman half-domes in Palace of Food Products and Palace of Education.

Palaces facing avenue: from north to south, Food Products and Education;across lagoon, Fine Arts.

Greenery and niches in pink and blue prevent wall from being monotonous.

"Dome of Plenty," in Palace of Food Products, harmonizes with half-dome in Court of Four Seasons.

Fountain in dome; elaborate; Sienna design.

Man with oak wreath, repeated eight times above columns in portal representing strength, by Earl Cummings.

Great columns of imitation Sienna on either side of portal, surmounted by "Physical Vigor," by Ralph Stackpole.

Niches along wall, archaeological figures, by Charles Harley, of Philadelphia."Triumph of the Field," man with harvest symbols, alternating with "Abundance," woman with horn of plenty.

Half-dome of Palace of Education, "Dome of Philosophy." Architecture as in "Dome of Plenty." Charm of background, ornamented ceiling, Corinthian columns with acanthus leaves.

Over doorways, beautiful use of stained glass.

Female figure repeated eight times above inner columns, by Albert Weinert; carries books; "Ex Libris," representing education.

Statue by Stackpole surmounting Sienna columns, reversed duplicate of figure before "Dome of Plenty," with different name, "Thought." Really represents vigorous man thinking.

Figures in niches repeated.

Roman fountain, "Dome of Philosophy," by Faville; simplest and one of the most beautiful of the fountains on grounds.Suggested by fountains in Sienna and Ravenna.

Palace of Fine ArtsPalace of Fine Arts, Bernard R.Maybeck, of San Francisco.Conception inspired by Boecklin's painting, "The Island of the Dead." Rotunda like Pantheon in Rome.Colonnade suggested by Gerome's "Chariot Race."Columns at end of colonnade, hint of Forum.Greek suggestion in Corinthian columns and fretwork and frieze around rotunda.Roof garden or pergola around edge of roof and the Egyptian red of wall gives Egyptian note.Suggestion of overgrown ruin; atmosphere of melancholy beauty.Originality of architectural design and treatment.

Curved hedge, obscuring view of floor of rotunda from opposite side of lagoon, by John McLaren.African dew plant, as in south hedge.Laurels and willows were originally planned to cover hedge and to reach to top of columns.Monterey cypress at north end of colonnade.

Kneeling figure on altar directly in front of rotunda, "Reverence," by Ralph Stackpole.Can be seen from across pool only.

Altar rock, planting grown down over edge gives effect of draped altar cloth.

Frieze on altar rock, below kneeling figure, by Bruno Louis Zimm, of New York.Represents "Source of Genius." In center, Genius; to left and right, mortals seeking to approach genius; lions guard the youth.Seen from across lagoon only.

Panels on exterior of rotunda just below dome, by Zimm, representing progress and influence of art.

Eastern panel, "Struggle for the Beautiful"; in center, Truth; at sides, Persistence and Strength, struggling with centaurs, symbols of materialism.

Panel to left, "Power of the Arts"; Genius taming Pegasus, inspiration in art; Wisdom inspiring Youth; Music with lyre; figures of Literature and Sculpture.

Panel to right, "Triumph of the Arts"; Apollo, patron of arts, in chariot; Fame, with olive branches; Ictinius, builder of Parthenon, leads procession of devotees.

Three panels, repeated on five sides of rotunda.

Decorative figure, man and woman alternating, between panels, repeated around rotunda.

Corinthian columns, ochre grouped with pale green ones; capitals of burnt orange.

Flower boxes by Ulric H.Ellerhusen; women at corners.Original plan was to have vines from boxes droop over, shoulders of women.Architect's purpose in attitude of women to suggest sadness of art.

Roman vases, eight or ten feet high around colonnade.Massive and graceful detail.

Sculpture Outside Fine Arts Palace Beginning at Northeast Corner of LagoonNorth of LagoonThe Illustrious Obscure, by Robert Paine.(Fountain on island at north end of lagoon.)Whaleman, by Bela L.Pratt.