construction and to the architecture, as well as in their exquisite
harmony with the natural setting, breeds a vast respect for his art.

The color scheme covers everything, from the domes of the buildings down
to the sand in the driveways and the uniforms of the Exposition guards.
The walls, the flags and pennants that wave over the buildings, the
shields and other emblems of heraldry that hide the sources of light,
draw their hues from Guerin's plan. The flowers of the garden conform to
it, the statuary is tinted in accordance with it, and even the painters
whose mural pictures adorn the courts and arches and the Fine Arts
Rotunda were obliged to use his color series. The result gives such life
and beauty and individuality to this Exposition as no other ever had. It
makes possible such beautiful ornamentation as the splendid Nubian
columns of the Palace of Fine Arts, and the glories of the arches of the
Court of the Universe. (See frontispiece.)

Go into that Court on a bright day and take note of the art that has
made Nature herself a part of the color plan. From a central position in
the court, where one can look down the broad approach leading from the
bay, Nature spreads before the beholder two expanses of color, the deep
blue of salt water sparkling in the sun, and the not less deep, but more
ethereal, blue of the California sky. With this are the browns and
greens of the hills beyond the bay, and, nearer at hand, the vivid
verdure of lawns and trees and shrubs. All these the designer used as
though they were colors from his own palette. To go with them in his
scheme he chose for pillar and portico, for the wall spaces behind, for
arch and dome, for the decorations and for material of the sculptures,
such hues that the whole splendid court and its vistas of palaces beyond
blend with the colors of sea and sky and of green living things in a
glorious harmony.