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They walked together on the tramps into the woods and Keineth enjoyed the fund of knowledge the other girl seemed to have concerning all the little woodland creatures and their ways. "I don't see why you like to be with Stella Maybeck," Peggy had said to her one day. "I think she is horrid!" she finished unkindly. "Why, Peggy!" Keineth frowned.
No one should miss, either, the walk between the peristyle and the main building on one of those nights when there is soft local illumination, for nowhere else on the grounds has the poetry of lighting been so perfectly realized. The architect of the Fine Arts Palace was Bernard R. Maybeck, a Californian. Sculpture
To their number was later added Bernard R. Maybeck of San Francisco, who designed the Palace of Fine Arts, while Edward H. Bennett, an associate of Burnham, of Chicago, made the final ground plan of the Exposition group.
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.
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 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."
It was not necessary to do more than fix her gaze indignantly upon Stella Maybeck. With a little gasp Stella turned and ran into her tent. The others pressed closer to Peggy. "Oh, do you think so?" they whispered in awed voices. "Peggy!" cried Keineth, imploringly. "I'm not going to say another word," Peggy answered, perhaps a little frightened at what she had done.
But it's also eccentric and it puzzles the average looker-on who is always searching after meanings, according to the literary habit of the day, the result of universal reading. Perhaps the effect would have been, less bewildering if those urns were filled with flowers as Maybeck intended they should be. Then the women would have seemed to be bending over the flowers.
Bernard Maybeck, the Berkeley architect, had long been telling California that architecture here, to be beautiful, needed only to be an effective background for landscape. His theory is that as trees and plants grow so easily and so quickly here, Californians are wasting their finest source of beauty if they do not combine landscape with building.
Maybeck advises his friends to come here by moonlight when they can get just the effect he intended. In all the Exposition there's no other spot quite so romantic. It might have been built for lovers." At the Palace of Horticulture At the Palace of Horticulture the architect said: "Here is the Mosque of Ahmed the First, taken from Constantinople and adapted to horticulture and to the Exposition.
"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.
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