Court of Palms
Court of Palms, by Kelham; opposite Palace of Horticulture, between Palaces of Education and Liberal Arts. Italian Renaissance. Sunken garden.
Palaces at sides of court: to the west, Education; to the east, Liberal Arts.
“The End of the Trail,” equestrian statue at entrance, by James Earl Fraser. Exhausted Indian, suggests destiny of the American Indian race.
Italian Towers, Byzantine influence, by Kelham. Both sides of entrance to court; identical. Simpler than towers at Court of Flowers, to cast.
Coloring of towers, by Jules Guerin. Walls frankly treated, not as stone, but as plaster, after Italian method. Blue checkered border, pink and blue diaper design; turquoise columns on little towers above, in harmony with domes and columns of Tower of Jewels.
Design on top, repeated four times at corners, from choragic monument of Lysicrates, in Venice.
Sienna columns at entrances of towers. Effective contrast.
Reclining women, purely decorative, in triangular spaces above entrances to towers, by Albert Weinert.
Figures on side of shield over all portals, very graceful. Pink and turquoise.
“The Fairy,” crowning Italian Towers, Carl Gruppe.
Female figures, the caryatides on wide frieze, above columns, by Calder and John Bateman, of New York. Flushed pink, against pink and blue background of imitation marble and terra cotta.
Festoons of fruit in panels, blues and reds.
Coupled Ionic columns, smoked. Effective against pink walls.
Vases, before entrances, by Weinert. Bacchanalian revels, low relief. Satyr handles.
Lighting standards on balustrade, designed by Ryan, modeled by Denneville.
“Pool of Reflections,” no sculpture.
Italian cypresses, on sides of portals.
Balled acacias between columns on corridors.
Palms, in garden.
Corridors, pink walls, blue ceiling.
Lamp standards, smoked ivory globes. Designed by Kelham, modeled by Denneville.
Lamps in corridors Roman, hanging. Light pink, green, and cream; effective. By Kelham.
Murals, in corridors, at east, north, and west portals.
“Pursuit of Pleasure,” east arch, Charles W. Holloway. Light touch, bright reds and blues in keeping with court; difficult use of floating figure.
“Victorious Spirit,” north arch, Arthur F. Mathews. Spirit of Enlightenment protecting Youth from Materialism, symbolized by rampant horse and the rider, Brute Force. Arrangement good, coloring deep and beautiful.
“Fruits and Flowers,” west arch, Childe Hassam. Early Italian.
Symbolism, obvious. Warmth of color.
Vista from south, graceful curve of court, view through north portal through Court of the Four Seasons, long colonnade, to purple bills and bay beyond.