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Updated: May 23, 2025
In the court system the architects obtained unity with great variety of style, and harmony without monotony. The plan was worked out by a commission of architects. But the greatest credit must be given to Edward H. Bennett, who first conceived the walled-city idea, and who brought his long experience in city-planning to serve in determining the best method of utilizing the magnificent site.
The adoption of the "walled-city" plan for the Exposition meant the grouping of the more imposing architectural effects in the interior courts, the outer facades simply forming parts of a practically continuous wall about the whole.
The walled-city idea, which throws most of the fine architecture into interior courts, is even more severely carried out in the north facades than in the south. The palaces on the Marina, indeed, present a wall unbroken except by the central doorways and the slight corner projections.
When one examines the general sweep of the palace walls facing the Avenue, certain architectural units are noticed. Centering each building is a low dome of Byzantine design, with green roof and warm pink sides. On the corners smaller domes break the monotony of straight lines. The Tower of Jewels and the four Italian Towers complete the inspiring "walled-city" effect.
The outer wall is edged all the way around with a simple cornice and a few rows of dull red tiles, distinctly Southern in feeling, and therefore harmonizing with both the Spanish and the Italian Renaissance doorways. The Winged Victory is the fine decorative figure that crowns the gables of all the palaces of the walled-city.
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