forms. It is, in fact, a purely romantic conception by Architect
Maybeck, entirely free from traditional worship or obedience to
scholastic precedent. Its greatest charm has been established through
successful composition; the architectural elements have been arranged
into a colossal theme of exceptional harmony, into which the interwoven
planting and the mirror lake have been incorporated in a masterly way.
The entire composition bespeaks the mind of a romanticist, whose
productions are swayed more by nature's glories than by scholastic
tradition.



The Palace of Horticulture

The appearance of this building so clearly expresses its purpose that a
definition of style promptly suggests the title of Horticultural
Architecture. Its decorative spire-like finials resemble the cypress and
poplar. The clusters of floral ornaments and festoons reflect one of the
fundamental purposes of decorative glory to which all plant life has
been decreed. The bulblike glass dome is like an enormous dewdrop of
beautiful proportions and iridescent color. All this beauty was
conceived by Architects Bakewell and Brown, who have given full evidence
of their appreciation of the purposes to which this Palace was assigned.



Festival Hall

This structure counterbalances the Palace of Horticulture at the east
end of the South Gardens. Mr. Farquhar's interpretation of Italian