all vertical panels serving as background for detailed statuary - for
instance, in all the courts. Next to the red there is a brilliant
orange, used in relatively small quantities here and there in the
mouldings, as around the Brangwyn paintings in the Court of Abundance.

This leaves yet to be named the few soothing blues that abound in the
ceilings, in the deep recesses of the walls, and the coffered arches,
serving as backgrounds for the many richly-modeled terra cotta rosettes.

This is practically the entire range of colors, but they assume, of
course, endless variations of tone and intensity, owing to the
difference of the surfaces and the play of light and shadow. The
relation of the whole color scheme to the colors furnished by nature is
by no means accidental. The effect of the ensemble, on a calm, sunny
day, is hard to describe in its gorgeous beauty.

The pressing into service of nature as applied to color was particularly
inviting, of course, on the bay side, where simple sweeps of skies,
foothills, and plain bodies of water furnish almost ideal conditions.
This is true in a similar way for the background in the west, but toward
the south - well, we had better forget such mournful outward aspects of
our great city of San Francisco, known around the world for its gay
temperament.

Appreciating the importance of detail, Guérin extended his color
treatment to practically everything presenting surface. Nothing could
escape his vigilant eyes. Even the sand covering of the asphalted roads
is of a peculiarly attractive blend. It seems like a mixture of ordinary
sand with a touch of cinnamon. Even that corps of stalwart guards had to
submit to a tonal harmony of drabs, with touches of yellow metal, warm