combination of the copper-green and a soft gray, and therefore not to be
counted as one of the nine cardinal colors. It simulates corroded
copper, and has faint yellow and black lines.

With the gamut thus restricted by the taste and discrimination of a
master, the decorators and artists were strictly limited to the nine
colors named. No one might use other than cerulean blue, if he employed
blue at all; no other red than the tone popularly known as "Pompeiian"
has been admitted in the scheme. In this red the admixture of brown and
yellow nullify any tendency towards carmine on crimson. The French and
the copper greens and the intermediate shades approved by Guerin are the
only greens allowed.

Here is seen the great advantage of a one-man idea. No other exposition
was ever so carefully or successfully planned in this particular. There
is no court of one color clashing with a dome, palace or tower of
conflicting tone, whether near by or at a distance. All is in harmony.

Working with Guerin, John McLaren, in charge of the landscape gardening,
so selected the flowers which border the paths and fill the parterres
that they too conform to the color scheme. Though three different
complete floral suits are to be seen at the Exposition in three periods,
each one accords with the hues of wall and tower, completing in harmony
the effect of the whole. The pinkish sand spread on the paths and
avenues to harmonize with other ground colors was not always tinted.
Some one had noticed that the white beach sand at Santa Cruz turned pink
when heated. Seizing upon this fact, McLaren and Guerin used it to give
a final touch to their scheme of color. They drew another lesson from
the washerwoman. A familiar laundry device was used to give sparkle and
brilliance to the waters of the pools and lagoons. They were blued, not