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. Architecture The style of architecture is Classic, freely treated. The rotunda is Roman. The peristyle is more Greek in feeling, in the simplicity of general form, with splendidly modeled capitals, full strong columns, and dignified cornice. The curved facade of the main building, facing the rotunda and peristyle, is very original in its arrangement of classic architectural motives and masses of foliage, with a Pompeian pergola on top. The color scheme of the whole building is worthy of study. And although the structure when seen by day deserves all the praise that has been bestowed upon it, by night its beauty is beyond description. One should sit long at the edge of the lagoon opposite the rotunda, and watch the illuminated building itself and its reflection in the waters below, to feel the full spell of it. No one should miss, either, the walk between the peristyle and the main building on one of those nights when there is soft local illumination, for nowhere else on the grounds has the poetry of lighting been so perfectly realized. The architect of the Fine Arts Palace was Bernard R. Maybeck, a Californian. Sculpture 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.