Within the rotunda has been installed Paul Wayland Bartlett's spirited equestrian statue of Lafayette. This is a replica of the original work, which was presented to the French Government by the school children of the United States, and stands in the gardens of the Louvre. Other notable statues here are Karl Bitter's Thomas Jefferson, John J. Boyle's Commodore Barry, Herbert Adams's Bryant, and Robert T. McKenzie's charming figure of "The Young Franklin." Outside the rotunda, facing the main entrance to the gallery, is "The Pioneer Mother," Charles Grafly, sculptor. Over the entrance is Leo Lentelli's "Aspiration." Beautiful as is the Palace of Fine Arts by day, it is even more lovely at night. (p. 137.) Either by moonlight or under the gentle flood of illumination that rests softly upon it when the heavens are dark, it is wonderful. There is so much of perfection in the building, and it is so well placed, that it needs no special conditions to be at its best. Nor is any particular viewpoint necessary. Stand where you will around this structure, or on the opposite margin of the lagoon, and each position gives you a different grouping of columns and dome and wall, a different setting of trees and water. The form of the Palace is responsible for this. Roughly speaking, a rectangular structure presents but four views. But the great arc of the Fine Arts, with its detached colonnade following the same curve on either side of the rotunda, is not so restricted. Every new point of view discloses new beauty. The breadth of the lagoon before it guarantees a proper perspective. It is impossible not to see it aright. An excellent test of the quality of all such temporary structures is the satisfaction with which one thinks of them as permanent buildings. No other of the palaces would wear so well in its beauty if it were set up for the joy of future generations. It would be a glorious thing for San Francisco if the Fine Arts Palace could be made permanent in Golden Gate Park. To duplicate it in lasting materials would cost much, but it would be worth while. San Francisco owes it to itself and its love for art to see that this greatest of Western works of art does not pass away. As it stands on the Exposition grounds, it is more enduring than any of the other palaces. To induce the loan of its priceless contents, the building had to be fireproof. But the construction is not permanent. The splendid colonnade, a thing of exquisite and manifold beauty, is only plaster, and can last but a season or two. Even were the building solid enough to endure, its location is impossible after the Exposition closes.