The City of Domes [50]
lattices, Oriental, and by colossal sculptural groups, the East and the West, in place of Roman chariot or quadriga.
Columns in front of arches; composite, mingling of Ionic and Corinthian; female figure used as decoration.
"Angel of Peace," by Leo Lentelli, on each side of arches on Sienna columns, repeated four times. Sword is turned down, but not sheathed, a commentary on modern peace.
"Pegasus," in triangular spaces above arch, by Frederick G. R. Roth, repeated on the other side.
Medallions, right and left sides of arches. Female figures suggesting Nature, by Calder; male figures suggesting Art, by B. Bufano, of New York.
Above medallions on frieze, decorative griffons.
Quotations on Arch of Rising Sun, west side, facing court, chosen by Garnett. Panels from left to right: "They who know the truth are not equal to those who love it," from Confucius, the Chinese philosopher; "The moon sinks yonder in the west while in the east the glorious sun behind the herald dawn appears; thus rise and set in constant change those shining orbs and regulate the very life of this, our world," from "Shakuntala" by Kalidasa, the Indian poet; "Our eyes and hearts uplifted seem to gaze on heaven's radiance," from Hitomaro, the Japanese poet.
Quotations on Arch of Rising Sun, east side, facing Florentine Court. Panels from left to right: "He that honors not himself lacks honor wheresoe'er he goes," from Zuhayr, the Arabian poet; "The balmy air diffuses health and fragrance; so tempered is the genial glow that we know neither heat nor cold; tulips and hyacinths abound; fostered by a delicious clime, the earth blooms like a garden," from Firdausi, the Persian poet; "A wise man teaches, be not angry. From untrodden ways turn aside," from Phra Ruang, the Siamese poet.
Crenellated parapet on arches, note from military architecture. Archers used to shoot from behind.
Cleopatra's Needle repeated on edge of arches. Used by the Egyptians as historical records and public bulletins. Merely decorative.
Green jars, beautifully designed, in niches at base of Arches of Rising and Setting Sun, McKim, Mead & White. Eight in each arch.
Arch of the Rising Sun, surmounted by group representing types of Oriental civilization. "Nations of the East," designed by Calder, and executed in collaboration with Lentelli and Roth. From left to right: Arab sheik on horse, negro slave, Egyptian on camel, Arab falconer, Indian prince, Buddhist priest or lama from Thibet, Mohammedan with crescent, negro slave, and Mongolian on horseback.
Murals in arch by Edward Simmons, of New York. On north wall, from left to right, True Hope and False Hope, Commerce, Inspiration, Truth, Religion, Wealth, Family; in background Asiatic and American cities. On south wall: historical types, nations that have crossed the Atlantic; from left to right, "Call to Fortune," listening to the past, the workman, the artist, the priest, Raleigh the adventurer, Columbus the discoverer, the savage of lost Atlantis, the Graeco-Roman, and the Spirit of Adventure sounding the call to fortune. In background, ancient and modern ships.
Arch of Setting Sun. Statues, frieze, spandrels, parapet, identical with Arch of Rising Sun. Group on top, "The Nations of the West," designed by Calder, executed in collaboration with Lentelli and Roth. American figures grouped around prairie wagon, drawn by two oxen. Above wagon, "Enterprise"; in front, "The Mother of Tomorrow," white boy on one side, colored boy on other; south, a French-Canadian, an Alaskan woman, a Spanish-American, a German; north, an Italian, British-American, squaw, American Indian.
Quotations on Arch of Setting Sun, chosen by Garnett. Panels from left to right, facing court: "In Nature's infinite book of secrecy a little I can read," from "Antony and Cleopatra," by Shakespeare, the English poet;
"Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound,
I, a child, very old, over waves, toward the house of maternity, the land of migrations, look afar,
Look off
Columns in front of arches; composite, mingling of Ionic and Corinthian; female figure used as decoration.
"Angel of Peace," by Leo Lentelli, on each side of arches on Sienna columns, repeated four times. Sword is turned down, but not sheathed, a commentary on modern peace.
"Pegasus," in triangular spaces above arch, by Frederick G. R. Roth, repeated on the other side.
Medallions, right and left sides of arches. Female figures suggesting Nature, by Calder; male figures suggesting Art, by B. Bufano, of New York.
Above medallions on frieze, decorative griffons.
Quotations on Arch of Rising Sun, west side, facing court, chosen by Garnett. Panels from left to right: "They who know the truth are not equal to those who love it," from Confucius, the Chinese philosopher; "The moon sinks yonder in the west while in the east the glorious sun behind the herald dawn appears; thus rise and set in constant change those shining orbs and regulate the very life of this, our world," from "Shakuntala" by Kalidasa, the Indian poet; "Our eyes and hearts uplifted seem to gaze on heaven's radiance," from Hitomaro, the Japanese poet.
Quotations on Arch of Rising Sun, east side, facing Florentine Court. Panels from left to right: "He that honors not himself lacks honor wheresoe'er he goes," from Zuhayr, the Arabian poet; "The balmy air diffuses health and fragrance; so tempered is the genial glow that we know neither heat nor cold; tulips and hyacinths abound; fostered by a delicious clime, the earth blooms like a garden," from Firdausi, the Persian poet; "A wise man teaches, be not angry. From untrodden ways turn aside," from Phra Ruang, the Siamese poet.
Crenellated parapet on arches, note from military architecture. Archers used to shoot from behind.
Cleopatra's Needle repeated on edge of arches. Used by the Egyptians as historical records and public bulletins. Merely decorative.
Green jars, beautifully designed, in niches at base of Arches of Rising and Setting Sun, McKim, Mead & White. Eight in each arch.
Arch of the Rising Sun, surmounted by group representing types of Oriental civilization. "Nations of the East," designed by Calder, and executed in collaboration with Lentelli and Roth. From left to right: Arab sheik on horse, negro slave, Egyptian on camel, Arab falconer, Indian prince, Buddhist priest or lama from Thibet, Mohammedan with crescent, negro slave, and Mongolian on horseback.
Murals in arch by Edward Simmons, of New York. On north wall, from left to right, True Hope and False Hope, Commerce, Inspiration, Truth, Religion, Wealth, Family; in background Asiatic and American cities. On south wall: historical types, nations that have crossed the Atlantic; from left to right, "Call to Fortune," listening to the past, the workman, the artist, the priest, Raleigh the adventurer, Columbus the discoverer, the savage of lost Atlantis, the Graeco-Roman, and the Spirit of Adventure sounding the call to fortune. In background, ancient and modern ships.
Arch of Setting Sun. Statues, frieze, spandrels, parapet, identical with Arch of Rising Sun. Group on top, "The Nations of the West," designed by Calder, executed in collaboration with Lentelli and Roth. American figures grouped around prairie wagon, drawn by two oxen. Above wagon, "Enterprise"; in front, "The Mother of Tomorrow," white boy on one side, colored boy on other; south, a French-Canadian, an Alaskan woman, a Spanish-American, a German; north, an Italian, British-American, squaw, American Indian.
Quotations on Arch of Setting Sun, chosen by Garnett. Panels from left to right, facing court: "In Nature's infinite book of secrecy a little I can read," from "Antony and Cleopatra," by Shakespeare, the English poet;
"Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound,
I, a child, very old, over waves, toward the house of maternity, the land of migrations, look afar,
Look off