successful experiment and begin to give life to our dreary cement
façades, mournful roofs, and lifeless window-sashes, ornamentations, and
what not. We are, I admit, hopelessly at the mercy of the housepainter,
who knows much about estimates, something about paint, and little about
color. I hope we are going to learn the difference between paint and
color, the purely physical, meaningless thing on the one hand, and the
intelligence-conveying, pleasure-giving element on the other.

Guérin certainly knows color, and I take it for granted that a man of
his training and experience knows how to use paint. His exposition
buildings look for all the world like a live Guérin print taken from the
Century Magazine and put down alongside of the bay which seems to have
responded, as have the other natural assets, for a blending of the
entire creation into one harmonious unit. I fancy such a thing was
possible only in California, where natural conditions invite such a
technical and artistic innovation.

The general effect is one of great warmth. The basic tone of the
travertine furnishes a very rich foundation for the other colors added.
The whole range of color is very simple and it is simplicity and
repetition over large areas that make the colors so effective. There are
three different greens, for instance - the patina green on many minor
domes, suggesting aged copper surfaces; a very strong primary green, on
the small doors of the palaces and most of the lattice work; and another
very pale, pinkish green, a sort of an abalone shell green, used on all
the flagpole bases, always topped off with a light pinkish red, used
above the light green base on all the flagpoles.

Then there are the reds, a number of different reds, running from a
pinkish brick color to a darker russet red, to be found exclusively in