other expositions: it is an integral part of the larger artistic
conception. It not only tells its individual stories freely and
beautifully, but it fits perfectly into the architectural scheme, adding
the decorative touch and the human element without which the
architecture would seem bare.

The late Karl Bitter was chief of the department of sculpture, and
although there is no single example of his work on the grounds, it was
he who, more than any other, insisted upon a close relationship between
the architecture and the sculpture. A. Stirling Calder was acting chief,
and he had charge of the actual work of enlarging the models of the
various groups and placing each one properly.

The material of the sculptures is the same as that of the buildings,
Travertine, thus adding to the close relationship of the two.

Mural Paintings

The mural paintings as a whole are not so fine as either the
architecture or the sculpture. The reason can be traced perhaps to the
fact that painting does not readily bow to architectural limitations. In
this case the artists, with the exception of Frank Brangwyn, who painted
the canvases for the Court of Abundance, were limited to a palette of
five colors, in order that the panels should harmonize with the larger
color scheme.

Color

Never before was there an exposition in which color played such a part.
Here for the first time a director of color was placed above architect