ve, combined massiveness with lightness. Other buildings were
strikingly quaint and pleasing, especially those suggesting the old
Southern Missions. All blended into the general scheme with scarcely a
discord. This harmony was not accidental, but resulted from combined
effort, each architect working at a general plan, yet not sacrificing
his individual taste. It was an object lesson in massive architecture,
showing how easily public edifices may be made beautiful each in itself,
and to increase each other's beauty by artistic grouping.

[Illustration: Large domed building.]
The Ethnology Building and United States Government Building.

Perhaps the most novel feature of the Fair was the coloring. Charles Y.
Turner's colors-scheme, original and daring, called forth much
criticism. With the Chicago White City the Rainbow City at Buffalo was a
startling contrast. But the artist knew what he was doing when he boldly
applied the gayest and brightest colors to buildings and columns, and
added to the quaint architecture that bizarre and oriental touch in
keeping with the festal purposes of the occasion. The rich, warm tones
formed a perfect background for the white statuary, the green foliage,
and the silvery fountains. The Temple of Music was a Pompeian red,
Horticultural Hall orange, with details of blue, green, and yellow. The
whole effect was fascinating, and at night, when the electric lights
illumined and softened the tones, fairy-like.

[Illustration: Building outlined in lights and reflected in the water.]
The Temple of Music by Electric Light.

But the coloring had a deeper meaning than this. Mr. Turner tried to
depict, in his gradations of tone, the struggle of Man to overcome the
elements, and his progress from barbarism to civilization. Thus, at the
Gate, the strongest primary colors were used in barbaric warmth, yet in
their warmth suggestive of welcome. As you advanced down the court the
tones became milder and lighter, until they culminated in the soft ivory
and gold of the Electric Tower, symbol of Man's crowning achievements.
Everywhere you found the note of Niagara, green, symbolizing the great
power of the falls.

Many forgot that in all this Mr. Turner was working from Greek models.
Color was lavishly used on the Athenian temples, rich backgrounds of red
or blue serving to throw the sculptural adornments into vivid relief.
Buffalo was in this a commentary on classic art, revealing what fine
effe