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THE ETHNOLOGY BUILDING
it with the boldness of a strong conviction.
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 ple Mr. Turner's fancy, too, because they are war and suggest a welcome. The
greater part of be external area—the main square shaft shows three stages of structure,
walls of the buildings—are, of course, in subeach smaller than the one below it, the nude,
dued colors, drabs, grays, warm white; and gilded figure of the Goddess of Light sur
the primary colors are used at the structural mounting it. It is flanked on either side with parts of
parts of the buildings--doors, windows, long curved colonnades. The main tower has
towers. Harmonious effects forbid the juxtapanels which are perforated, and these give a
position of rich primary colors certain airy relief to its massiveness, and pre
vory white or of gray intervenes de een the sent the appearance of transparency at night.
ronger primitive colors, and Heaven be Above the square part of the tower is a cir
lised that it does. cular colonnade ; then the cupola and the
The mere mention of a succession of colors goddess. Not the least pleasing part of the
conveys no clear idea to a reader. But here whole scheme are the colonnade and the
are Mr. Turner's own explanations of 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.
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
THE UNITED STATES GOVERNMENT BUILDING
Copyright, 1901, by Doubleday. Page & Co.
Photographed by A. R. Dugmore THE MAIN UNITED STATES GOVERNMENT BUILDING
scheme as applied to several of the buildings :
Horticulture—orange, with details in brilliant blue, green, rose and yellow.
estaurant 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