The City of Domes [51]
the shores of my Western sea, the circle almost circled. from "Leaves of Grass," by Walt Whitman the American poet; "Truth, witness of the past, councillor of the present, guide of the future," from "Don Quixote," by Cervantes, the Spanish novelist.
Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York. "Westward March of Civilization," beginning on north and continuing on south wall. Four groups in north panel, from left to right, Emigrants setting out for the west; two workmen and a woman holding child; symbolic figure of the Call to Fortune; types of those who crossed the continent, the driver, the Preacher, the Pioneer, the Judge, the Schoolmistress, the children; youth bidding farewell to parents; in background, New England home and meeting place. South wall: four groups in panel, from left to right; two Spanish-American soldiers and captain with a Spanish priest, suggesting Mission period; symbolical figure "Spirit of Enlightenment"; types of immigrants, the Scientist, the Architect, the Writer Bret Harte, the Sculptor, the Painter William Keith, the Agriculturist, the Laborer, women and children; California welcoming the easterners, figures of California bear, farmer, miner, fruit pickers; orange tree, grain and fruit, symbols of state.
Classic groups at head of steps in front of arches leading down into gardens by Paul Manship, of New York. North side, "The Dancing Girls"; south, "Music and Art."
Star-figure, along upper edge of court, by Calder. Repeated ninety times. Contrast with angel in front of arches.
Lion's head, on cornice below star-figure, repeated around court.
Gilt balls on the domes of all six pavilions. Represent an ornamental motive borrowed from the Byzantines and often used on synagogues. A feature of St. Mark's. Dr. Jacob Nieto, rabbi of the Temple Israel, of San Francisco, has an interesting theory as to their origin. "The ancients always had the greatest regard for the central star of each of the constellations that made tip the zodiacal signs. No doubt in their method of representation they would symbolize the central stars by a globe, as they also did the sun and the moon, looking upon them all as servants of the earth, and having, possibly, no idea that these other constellations might be separate solar systems."
Frieze on pavilions at corners of court, "Signs of the Zodiac," Atlas and fourteen daughters, seven Pleiades and seven Hyades twelve bearing plaques, by Herman A. MacNeil, of New York. On four sides of each of the six dome-covered pavilions. The third figure from the end on either side represents Electra. Sculptor, in modelling the form, put it on one side and then reversed it on the other side. The daughters of Atlas: only those representing signs of the Zodiac, have shields. On each shield is one of the signs of the Zodiac. What the sculptor has designed on the right is reversed on the left, securing absolute symmetry. The figures are finely done and merit special attention.
Lamps around sunken garden. Women; the Canephori, priestesses who carried baskets in ancient Greek religious festivals; men, suggestive of Hermes, used by Romans at ends of roads. Instead of baskets, they all carry jars.
"Fountain of the Rising Still." Ninety-foot column crowned by figure of Rising Sun, by Adolph A. Weinman, of New York. Reliefs at base of column, "Day Triumphant"; Time, Light, Truth, Energy, conquering Falsehood, Vice, and Darkness. Ornamental figures under upper bowl looking down into water, suggest Neptune, but are winged, "Spirit of the Waters."
"Fountain of Setting Sun." Column with figure of Setting Sun, a woman; called also "Descending Night." Reliefs at base of fountain, "Gentle Powers of Night," with Dusk covering Labor, Love, and Peace, followed by the Stars, Luna, Illusions, and Evening Mists.
Tritons in pools of Fountains of Rising and Setting Sun, by Weinman. Two statues; one, triton struggles with snake; in the other, with fish. Two duplicated in each pool.
Sheetlike appearance of water when full force of water is on; streams from
Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York. "Westward March of Civilization," beginning on north and continuing on south wall. Four groups in north panel, from left to right, Emigrants setting out for the west; two workmen and a woman holding child; symbolic figure of the Call to Fortune; types of those who crossed the continent, the driver, the Preacher, the Pioneer, the Judge, the Schoolmistress, the children; youth bidding farewell to parents; in background, New England home and meeting place. South wall: four groups in panel, from left to right; two Spanish-American soldiers and captain with a Spanish priest, suggesting Mission period; symbolical figure "Spirit of Enlightenment"; types of immigrants, the Scientist, the Architect, the Writer Bret Harte, the Sculptor, the Painter William Keith, the Agriculturist, the Laborer, women and children; California welcoming the easterners, figures of California bear, farmer, miner, fruit pickers; orange tree, grain and fruit, symbols of state.
Classic groups at head of steps in front of arches leading down into gardens by Paul Manship, of New York. North side, "The Dancing Girls"; south, "Music and Art."
Star-figure, along upper edge of court, by Calder. Repeated ninety times. Contrast with angel in front of arches.
Lion's head, on cornice below star-figure, repeated around court.
Gilt balls on the domes of all six pavilions. Represent an ornamental motive borrowed from the Byzantines and often used on synagogues. A feature of St. Mark's. Dr. Jacob Nieto, rabbi of the Temple Israel, of San Francisco, has an interesting theory as to their origin. "The ancients always had the greatest regard for the central star of each of the constellations that made tip the zodiacal signs. No doubt in their method of representation they would symbolize the central stars by a globe, as they also did the sun and the moon, looking upon them all as servants of the earth, and having, possibly, no idea that these other constellations might be separate solar systems."
Frieze on pavilions at corners of court, "Signs of the Zodiac," Atlas and fourteen daughters, seven Pleiades and seven Hyades twelve bearing plaques, by Herman A. MacNeil, of New York. On four sides of each of the six dome-covered pavilions. The third figure from the end on either side represents Electra. Sculptor, in modelling the form, put it on one side and then reversed it on the other side. The daughters of Atlas: only those representing signs of the Zodiac, have shields. On each shield is one of the signs of the Zodiac. What the sculptor has designed on the right is reversed on the left, securing absolute symmetry. The figures are finely done and merit special attention.
Lamps around sunken garden. Women; the Canephori, priestesses who carried baskets in ancient Greek religious festivals; men, suggestive of Hermes, used by Romans at ends of roads. Instead of baskets, they all carry jars.
"Fountain of the Rising Still." Ninety-foot column crowned by figure of Rising Sun, by Adolph A. Weinman, of New York. Reliefs at base of column, "Day Triumphant"; Time, Light, Truth, Energy, conquering Falsehood, Vice, and Darkness. Ornamental figures under upper bowl looking down into water, suggest Neptune, but are winged, "Spirit of the Waters."
"Fountain of Setting Sun." Column with figure of Setting Sun, a woman; called also "Descending Night." Reliefs at base of fountain, "Gentle Powers of Night," with Dusk covering Labor, Love, and Peace, followed by the Stars, Luna, Illusions, and Evening Mists.
Tritons in pools of Fountains of Rising and Setting Sun, by Weinman. Two statues; one, triton struggles with snake; in the other, with fish. Two duplicated in each pool.
Sheetlike appearance of water when full force of water is on; streams from