far-reaching effect than either of these, because its great lesson is
not in the field of any one art, but in showing forth the immense value
of coordination of all the arts in the achievement of a single glorious
ideal. The great thing here is the complete harmony of purpose, of
design, and of color, in the combined work of architects, sculptors,
painters, and landscape gardeners. The sensible plan that results in
perfect convenience in getting about, the clothing of this plan in noble
and fitting architectural forms, the use of sculpture and painting as an
integral part of the architectural scheme, the tying in of buildings to
site with appropriate planting, and the pulling together of the whole
composition with harmonious color-these are the things that will leave
their impress on American art for all time to come. If each student of
the art of the Exposition takes home with him an understanding of the
value of this synthesis, of this co-ordination of effort, he will have
the key to the Exposition's most valuable heritage to the American
people.

Physically there are three distinct parts to the Exposition: the main
group of exhibit palaces, the Zone, and the state and foreign buildings.
The art-lover will be concerned almost entirely with the first of these;
for artistically the Zone expresses anarchy, and the state and foreign
pavilions are given over almost entirely to social and commercial
interests.

Architecture

The architecture of the central group of palaces and courts is a notable
departure from that of most of the expositions of the past. There are
none of the over decorated facades, none of the bizarre experiments in
radical styles, and little of the riot of extraneous ornament, that have