The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1904-02-28

Gilded rosettes and gilded mouldings
adorn the soffet, or under side, of the
big entrance arch Across the inner
edge of the arch in full view of the
representa- tives, will shine forth in
gold and color the letters of some
inscription that may be quoted, with
satisfactory effect, upon constituents,
at the climax of an orators appeal.
This inscription has not yet been Sc
lected.
It is just beneath the projecting
plaster rim" which, below the hut-
ed and the laureI-wreath patterns al
ready mentioned, marks the base of
the skylight space, that the first band
of the color decorations, high over the
gallery arches, is beginning to reveal
promise Of Artist Garnsey's skill.
This band, five feet in width, is
strictly Romanesque. Its two princi-
pal patterns, a circle and a square, al
ternate. Each contains symbolic OBJ
5ects-the circle, palmetto and
torch; the square, shells, dolphins and
the wings Of a Mercury. Between each
square and circle the space, or fill
ing" shows arabesques and rosettes
painted in blue and yellow and gold.
Gallery VIII Have Hay Effect.
The color scheme, to quote from the
OLO01O SHOP, has 1Ol yet
been fixed for the space below the
band just described. But, whatever
may be the tints of the main walls,
of the gallery arches, and of the pen
dentives above and between the arch
es, the gallery as a whole, will have
q "haZy effect" seen from below. That
is, dusty blue backgrounds will be so
employed in the spaces visible through
the gallery arches, that the openings
will scarcely be noticed. The wall will
take on an apparent solidity, as If the
gallery "penetrationS," or arched OPEN
ings, did not exist This will tend to
unity the design of the hall and to pre-
vent the appearance of interrupting
and discordant outlooks between the
main floor and the lofty skylight.
The whole system of decoration for
the room was planned by Mr.. Garnsey
and reproduced by him, in color, on a
miniature scheme. Then, from his
colored drawings, specimens of the sew
eral parts, such, for example, as the
repeated circles and the squares, were
sent on to st. Paul, together with in
structions as to the precise location of
each pattern. Here tracing instruments
the ladies use them to mark OUT
dress designs or the crust of pies
have perforated paper sheets with the
outlines of the various patterns. The
sheets can next be laid over the part
of the wall to be decorated. Bags filled
with powdered chalk, or powdered
charcoal, according as the wall beneath
is dark or light. are rubbed across the
paper. Thus the pattern is outlined for
the guidance of the painter. Supt
Philip meantime, has painted on the
wall nearby some reproduction of the
pattern with all the colors filled in
j exactly according to a colored drawing
received from New York.
l. The paints to be employed in the
work have been mixed under his super
vision. All that is left for the painter
is to fill in the outlines on the walls
with the mixed colors as nearly as
possible in the manner of the speci-
men completed by Mr.. Philip.
4 Work Is Not Mechanical.
But this isn't mechanical art" say:
the superintendent. Our painters have
to have an eye for line and color and
the ability to observe perspective; it,
by no means an automatic reproduc
tion.'
The paints used are all mineral col
ors, extremely durable. Like the goo(