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you the great court, the Electric Tower, which is the climax of it, standing directly before you near the other end, with the curved screen behind it; and at either side are the curved transverse courts with their sunken gardens and fountains. The main court is wide enough to give the buildings a good setting, and the two octagonal domed structures at the corners (the Temple of Music and the Ethnology building) emphasize the junction of the two courts. The clusters of towers and the succession of domes, and especially the colonnades, give a chance for a luxuriance of color and ornament that carry the gaiety of the whole scene to a height never before reached in an architectural effort on our continent. In the general spectacle there is no suggestion of machinery and merchandise. In fact, the buildings have been criticised for this very reason; for floor space has been sacrificed to colonnades and porticos.

In the architecture, as in everything else, it is the total effect that is most impressive. The court is one large scene, so set as to lead

up to the great tower, witn its severer form and its more refined colors.

It is no part of this general description to analyze the separate buildings, but most persons will agree that Mr. Stearns's Horticultural building is both in its architecture and its ornamentation one of the most successful of the whole group. It has a lantern roof and four towers (domes) at the corners; the roof is of red tile, and the doorways and columns are beautifully and most luxuriously ornamented.

This luxuriance becomes floridity in the Temple of Music, because both of the color and of Mr. Konti's reliefs and statues. Its excessive ornamentation and coloring give offense to those whose only measure of beauty is the rigid classical measure. The Electricity building, too, is admirably planned and executed and ornamented. It is one of the most impressive and pleasing of the whole group.

But the architectural crown of all is Mr. J. G. Howard's Electric Tower. The

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THE ETHNOLOGY BUILDING

it with the boldness of a strong conviction. His general aim is to symbolize by the use of colors the advance of civilization, for he has followed Mr. Bitter's general plan, which he has carried out in sculpture-to represent the progress of man from barbarism. On the buildings in the southern end of the great court the primary colors are laid on in all the richness of the savage taste. They become gradually milder till they culminate in the soft harmonies of the Electric Tower, which is the climax of the whole plan in architecture, in color, and in illumination. The primary colors used most at the entrance near the bridge pl Mr. Turner's fancy, too, because they are war and suggest a welcome. The greater part of the external area-the main walls of the buildings-are, of course, in subdued colors, drabs, grays, warm white; and the primary colors are used at the structural parts of the buildings-doors, windows, towers. Harmonious effects forbid the juxtaposition of rich primary colors space of

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square shaft shows three stages of structure,
each smaller than the one below it, the nude,
gilded figure of the Goddess of Light sur-
mounting it. It is flanked on either side with
long curved colonnades. The main tower has
panels which are perforated, and these give a
certain airy relief to its massiveness, and pre-
sent the appearance of transparency at night.
Above the square part of the tower is a cir-lised that it does.
cular colonnade; then the cupola and the
goddess. Not the least pleasing part of the

whole scheme are the colonnade and the
gates behind the tower. They give a fitting
background to the whole scene.

The plaza behind the tower, with a sunken garden in the middle of it, is a sort of secondary playground. On either side are the restaurant buildings, through which on the east you enter the Stadium, and on the west the Midway.

TH

THE COLOR SCHEME

HESE buildings, so grouped about so spacious a court, would have made a noble appearance if they had been painted in quiet browns and grays and blues. But such treatment would have made a very different spectacle. Mr. Charles Y. Turner's color scheme will grossly offend you or it will greatly please you. It is an original and ambitious effort, and a successful one. He made models of all the buildings from the architects' plans, and he worked out this color scheme by long experiment in his studio in New York City, before the buildings were erected. He made it by actual experiment, with reference of course to the long vista, made it expecting violent criticism, and made

vory white or of gray intervenes De een the ronger primitive colors, and Heaven be

The mere mention of a succession of coors conveys no clear idea to a reader. But here are Mr. Turner's own explanations of the

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THE UNITED STATES GOVERNMENT BUILDING

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scheme as applied to several of the buildings: Horticulture-orange, with details in brilliant blue, green, rose and yellow. Music Hall-red.

Photographed by C. D. Arnoid

E TOWERS OF THE TRIUMPHAL BRIDGE

Machinery greenish gray. Restaurant Group-ivory, accented with green and gold.

Electric Tower-ivory yellow, gold and green. The roofs of the Exposition are for the most part covered with red tiles, though prominent towers and pinnacles are in many cases decorated with green or blue-green or with gold.

But this gives no notion, for instance, of the effect of the Temple of Music. The violent Pompeian red on the general scheme of salmon divides mankind into two warring groups, and apparently every other color is used somewhere in the elaborate decorations. You can never convince half the world that this is not a flagrant barbarism in colors. But it fits (so at least I am timidly willing to swear) into the general scheme most harmoniously.

The Government buildings are unfortunately out of chromatic harmony with the others, because the Government architect (or somebody in authority) did not fall in with

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