Every separate building has a color scheme of its own, and is consistent with itself as well as harmonious with the whole group. About the doors and the towers are most wonderful effects in green and red and blue.

THE NOTE OF NIAGARA GREEN

And running through the whole plan from the deeper barbaric primary colors to the delicate blue on the propylæa there greets you everywhere at intervals the Niagara green. This binds the whole scheme together. "My idea," said Mr. Turner, "is to have the sharpest and freshest green known carried throughout the entire scheme, and that is my reference to power. Green is one of the more recent and refined colors. It has not long been used in art. Pick up any picture painted long ago, and you will look in vain for a suggestion of green in it. The grass will be represented as brown. They said it was impossible to secure the grass-green effect, but it is done nowadays."

This color work is going for a long time to be the most interesting thing in all discussion of the fair, for it is the most original and daring thing. It is the thing that both offends and pleases most, and and it will convey a useful suggestion.

We are timid novices in the use

of color for exterior effects. We have had white houses and houses in colonial yellow; we have had brown houses, and we have had green blinds all these years of our lives. We have had inharmonious novelties of many kinds. But few men have considered the effects that may be produced by exterior colors when studied with reference to the surroundings-the natural scenery and adjacent buildings. Who paints his house with reference to the color of his neighbor's house or to its natural surroundings?

And there is a larger question than this opened by Mr. Turner's color scheme. In almost all the arts we have gone on accepting the classic canons as we interpret them, and since we do not know what colors the Greeks used on the Parthenon, for instance, we have associated Greek art, and inferentially all good art, with white-or, at most, with a very modest and timid use of color. And now for the first time in modern life an effort has been made on a large scale to work out a rich and various and bold use of exterior colors.

Copyright, 1901, by C. D. Arnold

EAST COLONNADE OF THE ELECTRIC TOWER

Photographed by W. H. Lyman

A VIEW FROM THE MALL

Mr. Konti's figures of playing children. The Temple of Music in the background

The effort will provoke a re-examination of the merely conventional opinions that we carry with us about more arts than one.

Doubtless we shall witness many odd and some violent results of a popular awakening to the possibilities of exterior color, but we may have a quickened sense of great opportunities opened by this bold experiment.

THE COLORS BY NIGHT

By night the colors are more attractive than by day. The louder chromatic notes are softened. The electric light is so diffused that few color-effects of the day are lost, and new ones are made. The green ornamentation on the great tower is green by the electric light-a softer and gentler green, and the ivory white is smoother, and the gold seems a deeper yellow. You may wander about the court every night for a month without exhausting the beautiful color and light effects about the doors and the cornices and the