The sculpture about the lagoon, including that under the peristyle and
rotunda, is to be treated in the next chapter, except that which is
definitely a part of the building's integral decorative scheme.
The reliefs outside the rotunda, on the attic above the cornice,
represent man's effort to gain the ideal of art. To see these reliefs
best, one should stand directly across the lagoon from the rotunda. In
the panel facing East one sees the figure of Art personified. On either
side is a group showing the champions of art combating centaurs, that
stand for the commonplace, materialistic things of life. In the next
panel to the left, facing Southeast, is represented the bridling of the
winged horse Pegasus, which to the Greeks symbolized the attainment of
poetic inspiration. Here also are figures representing the arts of
literature, sculpture and music, by the familiar symbols, a lamp, a
statuette and a lute. The panel to the right of the center one shows
Apollo, sun-god and patron-god of the arts, drawn in his chariot, with a
procession of devotees. These panels are repeated on the other five
faces about the dome. They are among the finest reliefs on the
Exposition buildings, and are by Bruno Louis Zimm.
The figures within the rotunda, surmounting the eight columns are
"Priestesses of Culture," by Herbert Adams.
The flower-box sculptures are by Ulric H. Ellerhusen-both those on the
ground and those at the corners of the boxes surmounting the peristyle.
The ladies on the latter, looking so steadily into the boxes, do not
represent "Curiosity." The plan was to have masses of foliage
overflowing, and half-covering the figures; and when this was given up,
the decorative women gave the unexpected impression of being deeply
absorbed in something happening out of sight of the spectator below. An
explanation which has gained some currency is that the figures represent
"Introspection," which seems quite apropos.
The kneeling figure (unnamed) on the edge of the lagoon before the
rotunda is by Ralph Stackpole. It is one of the most appealing bits of
all the Exposition sculpture, well expressing devotion and reverence. It
cannot be reached from the rotunda side, this portion of the shore being
closed to the public.
The figure over the doorway of the gallery is Leo Lentelli's
"Aspiration." During the early months of the Exposition this statue was
suspended from behind, the base on which it now stands having been
placed late in the Spring. As the figure first appeared, hanging in air,
it caused more comment than any other sculpture on the grounds. The most
appropriate explanation was that since the figure lacked any visible
means of support it probably was meant to represent "California Art."
Even the recent alterations have failed to save it from seeming
graceless and out of place.