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"There are columns that, in my opinion, have more beauty than those Maybeck used. But that's a matter of taste. In themselves those columns are fine and they blend into impressive masses. That altar under the dome, with the kneeling figure, only a great artist could have conceived in just that way. Ralph Stackpole, the sculptor of the figure, worked it out in perfect harmony with Maybeck's idea.
"The architect intended that those figures should express something of the sadness of life as reflected in art." "Oh," said the lady, as if she only half understood. Then she and the guard drifted away. "Those people have unconsciously given us a bit of art criticism, haven't they? One of the most pictorial notes in this composition of Maybeck's is the use of these figures.
"And if Boecklin could see this vision and hear that his Island of the Dead had started Maybeck's mind thinking of it he would probably be astonished and delighted at the same time. With his fine understanding of the influences operating in art he would see that his contribution did not in any way detract from Maybeck's originality.
Maybeck's Palace of Fine Arts is so overwhelming in its architectural effects that one seldom feels like doing justice to the fine sculptural detail everywhere in this building. Ralph Stackpole's interesting Shrine of Inspiration is the most charming bit of sculpture, more detached in its effect than most of the other motives.
A memorable demonstration of the value of landscape to architecture Simplicity the foundation of Maybeck's achievement The Colonnade and Rotunda Altar, Friezes and Murals Equestrian statue of Lafayette Night views The Palace should be made permanent in Golden Gate Park The Fine Arts Exhibit Its contemporaneous character and great general merit American art well shown The foreign collections Sweden's characteristically national art Exhibits of France, Italy, Holland, Argentina, and other countries Japan and China exhibit ancient as well as modern art The Annex Work of the Futurists Notable sculptures in the Colonnade Grand Prizes, Medals of Honor and Gold Medals Awarded.
And those bushes, to the right, rising on the lower wall, between the vases, surely had the character of over-growth. They carried out Maybeck's idea of an abandoned ruin.
One of these is the absence of windows in the walls, a device well known to the old Italians. Others are the water, the trees, and the flower-covered pergolas on the roof." Maybeck's modesty is genuine, but he deserves more credit than he gives himself. I quote him because his point is worth emphasizing. The highest beauty can be attained by simple means.
All through the construction Maybeck had defied the architectural conventions; but he had been justified by his success. My attention was directed to a group of columns at the end of the colonnade. "There's just a hint of the Roman Forum over there. Perhaps it's accidental. Perhaps it's developed from a picture way down in Maybeck's consciousness.
Besides, there's always danger of weakening a glorious conception like Maybeck's by putting too many things into it, creating an artistic confusion." We began to see how the colonnade in Gerome's painting had worked its influence. It was easy to imagine two chariots tearing along here, between the columns, after the ancient fashion.
It needs but a glance at its beguiling loveliness to know that here is another lesson in art and architecture by Bernard Maybeck. Here again is poetry in architecture, of a different order from the noble theme of Maybeck's Fine Arts Palace, but none the less poetry.
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