Miner repeated in the portal niches of both palaces. The avenues leading
from the Court of the Universe to the Court of Ages and the Court of
Seasons have been variously called the Aisles of the Rising and the
Setting Sun, or the Venetian and Florentine Aisles. Their four walls are
in the style of the Italian Renaissance, and show a diaper design
similar to that on the Italian towers of the Courts of Flowers and
Palms.

In an artistic sense, this group is incomplete without the Palace of
Fine Arts on the west and Machinery Hall on the east. (p. 105, 106.)
Balancing each other in the general scheme, they form the necessary
terminals of the axis of the Exposition plan. This matter of balance has
been carefully thought out everywhere, and affords a fine example of the
co-operation of the many architects who worked out the vast general
design. The Courts of Seasons and Ages are set off against each other;
the Courts of Palms and Flowers weigh equally one against the other; the
Arches of the Nations not only balance but match; even the Tower of
Jewels, which is the center of the whole plan, is offset by the Column
of Progress. In the South Gardens, the Palace of Horticulture is
balanced against Festival Hall.

Color and Material.--All other Expositions have been almost colorless.
This is the first to make use of the natural colors of sea and sky, of
hill and tree, and to lay upon all its grounds and buildings tints that
harmonize with these. Jules Guerin, the master colorist, was the artist
who used the Exposition as a canvas on which to spread glorious hues.
Guerin decided, first, that the basic material of the buildings should
be an imitation of the travertine of ancient Roman palaces. On this
delicate old ivory background he laid a simple series of warm, yet
quiet, Oriental hues, which, in their adaptation to the material of