The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1901-05-06

considerable courage on the part Of the
Pan1American exposition builders to take
up the color scheme. If the color scheme
proves successful, ASH have every reason
to believe it will, it will be novelty and
mark a new era of Improvement in the
treatment of architecture. The advisa-
bility of applying color to large buildings
has always been questioned. The matter
needs great deal of care and thought
IAIl coloringl is the subject Of more or
less criticism of an unfavorable charac-
ter. We will do remarkably well if we
escape it at this exposition - - ~. .-a-
The color scheme Of the Pan-American
exposition follows the plan Of sculptural
establishment conceived and being exc
cuted by Mr.. Karl Bitter, director of
sculpture of the exposition and supple
mentS his work. AS the sculpture will
symbolic the progress of the race SO
the color scheme will represent, in epf-
tome the growth of the color sense of the
race. The colors at the main entrance to
the grounds and about the Triumphal
bridge will be exceedingly warm.
All the savage races have manifested
great fondness for strong coiors and
these will be found on the buildings
nearest the main entrance The advance
ment of man in intelligence and civiliza-
ton has been marked by a desire for
more refined color combinations, and the
gradual change is reflected. the culrninat-
ing point of subtlety and grace of color
being in the electric tower, which. rep.
resenting the highest advance in ma
terial civilization and OCCUPYING the lead
ing position architecturally and seulptur-
ally of the whole exposition. naturally
enough has come in for the finest color
notes.
1t is a happy Feature for the color
scheme that the buildings upon which the
artist would naturally lavish powerful
colors all lie about the southern entrance
A regular graduation from intense to less
pronounced coloring is thus possible. AS
the majority OF the people will come in
from the southern entrance they will get
an impression Of bright, rich, fresh color
They will not, however, have time to
grow weary with the brilliancy Before
their eyes are jaded 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 them,
selves harsh or bad and crude Various
devices have been adopted for securing
harmony.
For one 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 no primitive
color is brought into direct contrast
with other primitive colors A mass
of ivory white always intervenes This
gives great brilliancy and prevents
chromatic discords. The quality Of
white used on the buildings varies from
warm creamy white near the bridge
/ to cool ivory at the electric tower.
AS an essential means of promoting
harmony, green, in at least a few
notes, is employed in the adornment Of
every building Of the exposition The
beautiful translucent green of Niagara
; has been fifty chosen as the dominant
color of the whole scheme Appearing
! in its fullness in the recesses of the
electric tower and in the resta lrant
group behind, it is Everywhere repeated
Not a building but bears its echo mark
! of Niagara green.
The color scheme OF a few of the
! buildings may be noted:
observation-disclosures, with details in
; brilliant blue, green, rose and yellow.
/ Glovernment-Y ellew, with details in
primitive coors.
Music Haired.
NEUTRALITY-SUSPICIOUS. gray.
Restaurant Group-Ivory, accented
with green and gold.