One feature of this court made a special appeal to the architect, the use of the large green vases under the arches. "They're so good they're likely to be overlooked. They blend perfectly in the general scheme. Their coloring could not have been better chosen and their design is particularly happy."
VI
On the Marina
Along one of the corridors we passed, enjoying the richness of the coloring and the beauty of the great lamps in a long row, then out into the wide entrance of the court to the Column of Progress.
"I wonder if that column would be there now," said the architect, "if
Trajan had not built his column in Rome nearly two thousand years ago.
The Christianizing of the column, by placing St. Peter on top instead of
Trajan, is symbolic of a good deal that has gone on here. But we owe a
big debt to the pagans, much more than we acknowledge."
When I expressed enthusiasm over the column the architect ran his eye past the frieze to the top. "In the first place, that dominating group up there ought at once to express the character of the column. But it doesn't. You have to look twice and you have to look hard. One figure would have been more effective. But there is a prejudice among some sculptors against placing a single figure at the head of a column, though the Romans often did it. But if a group had to be used it could have been made much clearer. Now in that design MacNeil celebrated the Adventurous Archer in a way that was distinctly old-fashioned. He made the archer a superman, pushing his way forward by force, and by the dominance of personality. And see how comparatively insignificant he made the supporting figures. The relation of those three people implies an acceptation of the old ideals of the social organization. MacNeil had a chance here to express the new spirit of today, the spirit that honors the common man and that makes an ideal of social co-operation on terms of equality."
At the base we studied the figures celebrating labor. "Konti is a man of broad social understanding and sympathy," said my companion. "But picturesque as those figures are, they're not much more. They give no intimation of the mighty stirring among the laborers of the world, a theme that might well inspire the sculpture of today, one of the greatest of all human themes."
From the Column of Progress the Marina drew us over to the seawall. "The builders were wise to leave this space open and to keep it simple. It's as if they said: 'Ladies and gentlemen, we have done our best. But here's Mother Nature. She can do better.' "
To our right stood Alcatraz, shaped like a battleship, with the Berkeley hills in the distant background. To the left rose Tamalpais in a majestic peak.
When I mentioned that there ought to be more boats out there on the bay, a whole fleet, and some of them with colored sails, to give more brightness, the architect shook his head.