The Fine Arts Palace has been more admired, probably, than any other
architectural unit at the Exposition. The reasons are not far to seek.
The architect has used those classic forms which for ages have been
recognized as best suited to monumental structures, and yet he has used
them with originality. The building is classically noble, but without
classic austerity or coldness. It is at once beautiful in form, rich in
decorative detail, and satisfyingly warm in color. Moreover, it has the
finest setting of all the Exposition buildings. The bigness of
conception, the boldness with which the largest architectural elements
have been handled, the perfect arrangement of architecture, planting,
and reflecting waters-all these combine to create the most compelling
picture on the grounds.
The arrangement of the building is deceptive. As one looks at it across
the lagoon, it seems like a single unit, so well does the planting tie
it together, though there are really four unconnected structures: the
rotunda, two detached peristyles at the sides, and the art gallery
proper at the back.