The Wilmington daily Republican. (Wilmington, Del.) 1890-1902, 1901-04-18

Exposition has very appropriately been
dedicated to our ncighhors in the West
ern Hemisphere.
All the savage races have manifested
great fonhnesS for strong, crude col.
orS. and these will be found on the
buildings nearest tho main entrance
The advancement Of man in intclli
gcncc and civilization has been marked
by desire for more refined color com.
bnations, and the eliminating point Of
subtlety and grace of color being in the
Electric Tower, which, representing
the highest advance In material civli-
cation and occupying the leading posi-
ton archtecturally and sculpturally of
the whole Exposition, naturally enough
has come in for the finest color notes.
1t is a happy feature Of the color
scheme that the buildings upon which
the artist would naturally lavish pow
crful colors all lie about the southern
entrance. A regular graduation from in
tense TO less pronounced col0ring is
thus possible. AS the majority Of peo-
pie will come In from the southern Ell
trance they will get an impression Of
bright, rich. fresh color. They Will not.
however, have time to grow weary
with the bri!liancy. Before their eyes
are faded they will have got into the
region of more softly tinted surfaces.
1t must not be supposed, however,
that the primitive color schemes are in
themselves harsh or bad or crude. Va
rious devices have been adopted for Sc
curing harmony.
For ono thing the greater part Of the
exterior wall spaces are all in warm
white. Color is employed only at struc-
tural points in the architecture as
about entrances. Furthermore. 10
primitive color Is brought into direct
contrast with other primitive colors: II
mass Of ivory white always interveucs.
This gives great brilliancy and pre-
vents chromatic dIscords. The quality
of white used on the buildings varies
from warm creamy white near the
bridge to Il cool ivory tone at the Flee
trio Tower.
As an essential means Of promoting
harmony green. in at least n few notes,
is employed in the adornucnt OF every
building Of the Exposition. The beautl.
full translucent green Of Niagara has
been fifty chosen as the dominant color
Of the whole scheme. Appearing in its
fullncss in the rcccsSes Of the Electric
Tower and In the restaurant group be.
l. ;,I : t., l,n, tnI Nnt
building but bea its echo mark OF Nj
agara green.
The color schemes Of few Of the
buildings may be noted:
HOrticulture-Orangc, with details in
brilliant blue, green, rose and yellow.
Govcrnmental-Yell with details
in primitive colors.
Music Hnll-Red.
Machinery gray.
Restaurant Group-Ivory, accented
with green and gold.
Electric TOwcr-Ivory, yellow, gold
and green.
The roofs Of the Exposition are FOR
the most part covered with rcd tiles,
though prominent towers and pinnacles
will be In many cases decorated with
green or blue green or with gold.
All the buildings will have play of
colors about their entrances, balconies.
pinnacles and towers. My idea is to
have the sharpcst and freshest green
known carried throughout the entire
scheme, and that will be my reference
to power. Green is one of the more re.
cent and refined colors. 1t has not long
been used iu art. Pick up any picture
painted long ago. and you Will look in
vain for II suggestion Of green in 1t.
The grass will be represented as brown.
They said 1t was impossible to secure
The grass green effect, but 1t is done
nowadays.
The color scheme has for the most
part been worked out at my studio in
New York. The first step was to get
from the architects small sketches Of
oil the buildings. Models were made
from these on scale of one-sixteenth
inch to the foot which when properly
grouped on n platform IL by 16 feet rep.
resented the entire Exposition In NINA.
ture. Each model was colored in &c.
cordance WITH the general scheme, and
It's relation hip to surrounding build.
ings carefully studied. Many Of them
had to be painted several times before
suitable results were secured.