red puttees, and neat little yellow Spanish canes. They all seem very
proud and appreciative of their part in the concert of colors. And they
speak of it with feeling and reverence. Not long ago, during a rather
stormy, wet day, I happened to notice several of these cicerones hiding
in a doorway of one of the palaces, looking most disconsolate. The
reason for it became immediately apparent; the un-Californian weather
had forced them to put on civilian overcoats of indescribable hues, and
the shame of being out of color was plainly written in their faces. It
shows that art is largely a matter of education.

I fancy that all that a respectful and appreciative public could do, in
order to live up to the occasion, would be to have Exposition suits
built of pongee silk, or some other harmonious material. So far, on all
of my visits, I observed a shocking preponderance of black, which I hope
will eventually yield to the softer colors of lighter materials, with
the arrival of warmer weather.

The careful observer will find that the crimson vermilion red of the
fire alarm boxes had to yield to a more refined vivid orange, much, I
understand, to the consternation of the Exposition fire marshal, who
must have been shocked at this intrusion.

The horticultural effect of the grounds, flower beds, and shrubbery will
always adapt itself properly to the color scheme, and a preponderance of
warm yellows, reds, and orange will simultaneously fill out the garden
areas. At first yellow pansies and daffodils had control, to be replaced
in due season by the uniform appearance of tulips, hyacinths, and
successions of other flowers. This progressive appearance of new flower
carpets will provide ever-changing elements of interest throughout the
entire period of the Exposition.