Nouveau, which has, unfortunately, been much discredited, by just such
things in our own country, where classical traditions are so firmly and
so persistently entrenched.

While structurally this building is of a peculiar, affected,
ultra-modern note, the general scheme of decoration inside as well as
outside compels much praise. The general feeling of refinement, of
serenity, that so strongly characterizes the interior is due to the able
work of Hermann Rosse, a capable decorator-painter, who designed and
supervised the entire color scheme.

The color scheme inside the Holland building, while daring, is most
original in using an unusual combination of steel-blue and warm grey
silver tones. These two relatively cold notes are enhanced in a
complementary color sense by touches of orange and yellow. A
constructive stencil pattern based on the two national plants of
Holland, the orange tree and the tulip, add richness to the general
effect. Mr. Rosse's very decorative wall painting opposite the main
entrance represents the Industries of Peace. While somewhat severe, it
adds dignity in motive as well as in treatment.

On the outside some fine decorative tile panels reflect one of the chief
industries of the Dutch and also tell of the influence that Dutch art
has long received from Holland's East Indian possessions. These tile
panels are very decorative. To us, out here, they suggest artistic
ceramic possibilities for architectural purposes of which we have taken
little advantage. Considering the fact that we have quantities of good
clay and that so much original good decorative design is lying idle,
this inactivity in architectural ceramics in California is distressing.
So far as I know, Batchelder, in Pasadena, still has the monopoly on