University of California Los Angeles - Bruin Life / Southern Campus Yearbook (Los Angeles, CA)

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[St. Slefano (li ' ft) was the inspiral ' wn for many of ihr desiijns of Royir, v:lnlc San Zi-no-ve ((en- ter) and till- Court of Pilule (riylit) arc reminiscent of the Library. ' ] architectural Inspiration of Wcstwood HF DESK N of Royce Hall especially niay be traced to examples of past art. Its de- sign is reminiscent of the Church of San Ambrogio in Milan, excepting, however, that its two towers are of equal proportion if not of similar design. An almost complete symposium of the Romanesque- Italian Gothic school of architecture utilized here may be traced to the Cathedral of SS. Pietro e Paolo, built in the IV century, in the Church of II Santissimo Crocifisso, and particularly in the interior of St. Sepolcro, in Church of St. Stefano. The similarity is most strong in the arcade of the upper ambulatories, in the lack of unity of the two towers, in the multi-pillared columns of the colonnade, and in the treatment of the facade. Q. On the beamed ceiling of the foyer are designs in red and gold portraying the shields of the twelve earliest foreign universities, including Bologna, Paris, Oxford, Cambridge, Prague, and Heidelberg. The principle feature of Royce Hall consists of two triple-vaulted open loggias, super imposed. For the ceiling of the three lower vaults a design has been utilized which symbolizes the twelve branches of learn- ing, including the graphic arts, education, philos- ophy, chemistry, and languages, each subject per- sonified by a half-figure, below which is inscribed the name of a great man of the past who was remembered in connection with that subject, the richness of color and design reminding one of the painted vaults in the lower church at Assisi. CI. The ceilings of the upper three vaults have been painted to portray the three periods of that movement, and that by representing four great leaders from each period. In the first are Jesus Christ, Socrates, Plato, and Aristotle; in the sec- ond, Petrarch, Abelard, Melanchthon, and Loy- ola; in the third, Kant, Darwin, Einstein, and Eliot. These murals, below each of which an inscription is painted, recall the glowing mo- saics of Ravenna. Q. A modern essence among the ancient is brought by the depiction of a bear ' s head in a medallion in the spandrel above the main entrance, symbolic of the bond between past knowledge and present learning. Motifs in running design and relief panels on the colonnade arches are of Spanish and Saracen origin.

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[Tlir Library stands In llif West of tin Mam (Juadtamil, m ma uv, huiuly.} Ht chitcctural Inspiration of Wcstwood HE IXTf:RIOR of the Li- brary Building recalls in its de- sign the exterior facade. The medium of construction has made possible a free use of rich and decorative motifs con- trasted against plain back- grounds, combining the Italian Romanesque with the more colorful and free style found in XV and XVI century cathedral cities of Spain. CI. The ceilings, constructed of antique wood, had their inspiration in the ancient town halls and churches of Granada and Toledo, where the influence of the Moorish invasion left such a mark on the art and decoration of Spain in that period. This lofty and massive timbered ceiling, extending over two hundred feet in length, has been enriched with pattern and harmonious color inspired by the Spanish Romanesque. The cen- tral dome, inspired by one at the San Ambrogio at Milan, is ornamented by forty printers ' marks of the XV and XVI centuries, among which are to be found those of such great Renaissance printers as the Giunta Family, Simon V ostre, Petit, Aldus, Caxton, and Gutenburg. These marks, with the twelve fruits of knowledge and the five interlaced circles of perfect truth, are worked into the symbolic design of the Tree of Life. The church of St. Sepolcro and the Court of Pilate have without doubt served as inspira- tion for the octagonal dome in the Delivery Room, as well as for the wall textures in this and the Chemistry and Education Buildings. a. Symbolizing the spirit of this structure is a design in the spandrel above the front entrance, depicting the Gods of Light and Learning pay- ing reverence to the Owl of Wisdom, which typifies the recorded knowledge of books, and from which radiate, in the outer arch, all the various fields of human discovery and science. a. The owl motif is again utilized in the newel post at the foot of the stairway, and a more modern touch, the forepart of a bear, is found in a running band basing one of the columns in the foyer. Bestial band designs of an ancient day, probably of pre-Renaissance work of Italy and Spain, form a particularly interesting part of the front facade, while the later type of Moor- ish pattern, which religiously excludes all living objects, is wrought in brick-work. ? ; -»i.« :t tei? s . g [20]

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[Rnyr, ' Hall, north of tlir mitiii quadrangle, s wii:. an almost comf lrtr symposium of llir Rnmancsquc-Ilalian school of anli ' itccturc.} t5hc Jiyth XttX x Inspiration of TS7cstwoocl HK ARCHITECTURAL treatment of the Education Huildiiig adheres essentially to the same tradition as that of Royce Hall and the Library, hut it is handled in a more modern manner, due to the symmetrical plan necessary. Two corresponding auditoriums, one on each side of the building, require that the wings be in balance, and the dis- similarity evident in the facade of Royce Hall is obviously omitted. The introduction of a greater amount of terra cotta in decorative treat- ment is instrumental in forming a pleasant contrast to the other buildings, as is the execu- tion of texture pattern brickwork on the main entrance gable, and in the second story frieze which bands the entire structure, the latter giv- ing an impression of inlaid Italian mosaic. An- other interesting innovation is encountered in the octagonal columns which support the arches over the main entrance. Q. Throughout the entire building there is a subtlty and maje.sty of color that produces a feeling of greatest impression, and dignity is the keynote of the auditoriums in this structure. The larger of the two, with its entrance vestibule, is panelled with walnut-col- ored mahogany, blended into a time-mellowed dull shade. Highly decorated mahogany beams in the ceiling, supported on either end by brack- ets in relief, give the room a distinctly Spanish character. On the sides of these three beams are painted a number of tablets, each symbolically representative, including a horse rampant, signi- fying strength ; a lion rampant, signifying brav- ery; a peacock, for pride; a rose, typifying .sec- recy ; a griffin, for guardianship ; a pelican, for charity; and a lily, for purity. The brackets, as well as the moulding below the rafters, are of wood carved in design of Byzantine origin. CI. The other auditorium is smaller, with decora- tion of the more conventional modern fashion, its almost plain colored walls, with terra-cotta and frescoe reliefs in the ceiling, giving it an even more distinctly Spanish flavor. The buff tones of the halls, cloistered and arched like Mediter- ranean monasteries of the past, also assist in this effect. Q. Inspiration for other features of the building are found to exist particularK ' in the church of San Lorenzo at Mantua. ;i ' w- ? 3TCT ' ir £r 5 [22}