The evening times. [volume] (Washington, D.C.) 1895-1902, 1902-08-25
COLOR SCHEME OF The
ST. LOUIS EXPOSITION
Main Buildings to Be an ''Old
Ivory White. -
Quiet in Mural Decoraticn-Elaborate
Friezes in Liberal Arts Building
Portraying Various Industries.

ST. LOUIS, Aug 25.-The popular
names Of three recent American expo
sitions were based on the color OF the
buildings. The Columbian Exposition
was held in the White City" the Pan
American Exposition in the Rainbow
City and the Charleston Exposition in
the Ivory City" Popular names al
ways seize cn the most salient eharae-
teTistic- These facts show the impor-
lance of color in expositions.
The color Of the buildings of the main
picture OF the Louisiana Purchase Ex-
position. to be held in St. Louis in 1864.
viii be an old ivory white" The com
mission Of architects which planned the
exposition decided this point early in
its deliberations Its subsequent work
OF design was greatly Influenced by this
decision.
The architects have maintained q
certain dignity Of style in designing the
buildings, preserving 4 classical feeling
throughout the main groups. This does
not mean that the designs are not Of q
festive ana decorated character or that
they are lacking in fancy. originality
or vigcr. It means that they viii be
free from the vagaries, the wild flights
Of fancy, that have blemfshed some pre-
vious ex7esticns.
The use Of color and mural deeora-
ton at the Louisiana Purchase Expo
sition VIII be confined rather 70 the in
ner walls Of loggias. to the interiors of
courts, to vaulted ceilings and other
portions Of the architecture which will
be in shadow or in shade. This viii
lend richness OF color without i'm
pairing the unity and dignity Of the
main tone Of the exposition picture.
This assertion applies. CT course. only
to the main groups of buildings and not
TO the other structures which will fill
the grounds. IN these latter ediaees
the imaginative genius of the designer
viii have free play both as to arehitee-
turai form and color.
IN the building Of the Liberal Arts the
architects have applied color in the
shaded walls OF their Ioggias on aoth
the main and the minor facades. They
have provided for elaborate mural
friezes in which tFe siuewy forms Of the
labCrer and mechanic viii be contrasted
with the graceful lines Of categorical
fsures.
TIE subjects OF these decorations viii
be the various divisions Of the Liberal
Arts For example. one Of the main
friezes to the right of the entrance will
symbolic the progress of printing from
its infancy to its present development. /
another frisze viii represent pho I
tography, another the manufacture Of /
musical instruments. going back 70 the /
PatFiarchs OF the infant world in Egypt /
and Greece and bIaZoning in coIors
living. interesting outline of this art
The great vaults Of the hemieycIe at I
The main entrance of the Liberal Arts 4
Building VIII be frescoed in a manner +
TO correspond with the loggias and TO 4
add warmth and wealth Of color to these /
colossal portals.
The architects OF the Liberal Arts
have made architecture sub Z
servient IN 4 sense to sculpture and +
II being the desire that there I
shall be perfect union Of the three
great allied arts; that on its completion
the building shall be harmonious de-
yeIOpment and blending OF the three.
each working with the other for the
success Of the whole. 1t is expected
hat there will be left memories as de-
ightfuI as those that result from a
to the picture galleries and
lails OF sculpture OF Munich. Rome.
Florence. Venice and Dresden.
The artistic success OF the Worlds
Fair at St Louis depends largely On
he unity and harmony in which the
.rchHects, sculptors and painters work
Il these forces will work to the at
ainmcnt of the highest ideal. the re-
suit will be one OF bewildering en-
.haEunent and everlasting glory 10 all
Who participate in the building Of this
treat fair