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Updated: June 23, 2025
Unfortunately, this fine altar has been made inaccessible; it can be seen only from across the lagoon. Eight times repeated on the lofty columns within the rotunda is "The Priestess of Culture," a conventional but pleasing sculpture by Herbert Adams. Above, in the dome, Robert Reid's eight murals, splendid in color, are too far away to be seen well as pictures.
"Architecture," relief by Richard H. Recchia. Lincoln, by Daniel Chester French. Thomas Jefferson, by Karl Bitter. Murals in dome of rotunda, Robert Reid. Two series of paintings, four in each, "Birth and Influence of Art," alternating with "The Four Golds of California." "Birth of Oriental Art," panel on west wall, toward main doorway. Man on dragon attacking eagle, heavenly bird of inspiration.
His murals, though intended to be displayed in the open air, were to hang in sequestered corners of the corridors running around the Court of the Ages, the court, moreover, that was to have no color. Besides, there were no colors in the world that could successfully compete against his powerful blues and reds. The Lighting
Each of his two murals has a meaning, or rather a good many meanings, but no central theme, no story that binds the figures into a distinct unity. So, from the point of view of the public, they are somewhat puzzling. People look up there and wonder what those figures are doing.
Recessed or coffered panels in ceiling, richly colored, blue harmonizing with murals on east and west walls. Murals by William de Leftwich Dodge, of New York. To west, "Atlantic and the Pacific," with the "Purchase" to right, and the "Discovery" to left. Opposite, "Gateway of All Nations," with "Labor Crowned" and the "Achievement" on sides. Tone of murals strengthens arch.
The Court of Flowers typically Italian Its delightful garden and fountain, "Beauty and the Beast," by Edgar Walter Borglum's fine group, "The Pioneer" The Court of Palms is Grecian in feeling "The End of the Trail," by Fraser, a chapter in American history Murals in the doorways Arthur Mathews' "Triumph of Culture."
Neither pictures nor statues need much explanation. The first alcove to the left of the half-dome is that of Spring. In the sculptured group of the fountain, flowers bloom and love awakens. It is a fresh and graceful composition. The murals are on the faces of the corridor arches. No one can mistake their meaning.
It isn't nearly as life-like as those human figures." What I liked best about the murals was their splendor of coloring, and their pictorial suggestiveness and vigor of characterization. Perhaps there was a little too much effort on the part of the painter to suggest animation. But why, I asked, had Du Mond made most of the faces so distinctively Jewish?
His murals don't call the attention away from their surroundings to themselves. They are a part of the architecture, as murals always should be." On either side we found the columned niches designed by McKim, Mead and White, each ornamented with a fountain. The back wall made a splendid effect as it reached up toward the tower. To the right we turned to view Mrs.
However, this is Aitken, not Mullgardt. The allegories of the group are detailed in the chapter on Fountains. The Court of the Seasons A charming bit of Italian Renaissance Its quiet simplicity The alcove Fountains of the Seasons, by Furio Piccirilli Milton Bancroft's Murals The forecourt, with Evelyn Longman's Fountain of Ceres Inscriptions.
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