The style of architecture cannot be summed up in any one name. Practically every historic style has been drawn upon, but there are very few direct copies from older buildings. The old forms have been used with new freedom, and occasionally with very marked originality. As one looks down on the whole group of buildings, the Oriental feeling dominates, due to the many Byzantine domes. In the courts and facades the Renaissance influence is strongest, usually Italian, occasionally Spanish. Even where the classic Greek and Roman elements are used, there is generally a feeling of Renaissance freedom in the decoration. One court is in a wonderful new sort of Spanish Gothic, perfectly befitting California. In the styles of architecture, as in the symbolism of painting and sculpture and in the exhibits, one feels that the East and West have met, with a new fusion of national ideals and forms. The material used in the buildings is a composition, partaking of the nature of both plaster and concrete, made in imitation of Travertine, a much-prized building marble of Italy. This composition has the warm ochre tone and porous texture of the original stone, thus avoiding the unpleasant smoothness and glare which characterize stucco, the usual Exposition material. Sculpture In one way more than any other, the sculpture here surpasses that of other expositions: it is an integral part of the larger artistic conception. It not only tells its individual stories freely and beautifully, but it fits perfectly into the architectural scheme, adding the decorative touch and the human element without which the architecture would seem bare. The late Karl Bitter was chief of the department of sculpture, and although there is no single example of his work on the grounds, it was he who, more than any other, insisted upon a close relationship between the architecture and the sculpture. A. Stirling Calder was acting chief, and he had charge of the actual work of enlarging the models of the various groups and placing each one properly. The material of the sculptures is the same as that of the buildings, Travertine, thus adding to the close relationship of the two. Mural Paintings The mural paintings as a whole are not so fine as either the architecture or the sculpture. The reason can be traced perhaps to the fact that painting does not readily bow to architectural limitations. In this case the artists, with the exception of Frank Brangwyn, who painted the canvases for the Court of Abundance, were limited to a palette of five colors, in order that the panels should harmonize with the larger color scheme. Color