Palace of Fine Arts
Palace 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 Lagoon