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 effects may be produced by out-of-door coloring when suited to surroundings. We saw that in our timid, conventional avoidance of exterior colors we had missed something; that cheerful colors might well supplant on our houses the eternal sombre of gray and brown, as they so often and so gloriously do in nature. The power sculpture may have in exterior decoration was also taught. At Buffalo statues were not set up in long rows as in museums. Instead you beheld noble and beautiful groups in natural environments of bright green foliage with temples and blue sky above, or forming pediments and friezes upon buildings. White nymphs and goddesses bent over fountains or peeped from beneath trees or the ornate columns of pergolas. One was greeted at every turn by these gleaming figures, a vital and integral part of the landscape. Carl Bitter, director of sculpture, aimed to make sculpture teach while it decorated. He sought to tell in sculpture the story of man and nature. In the lake fronting the Government Building stood a fountain of Man. A half-veiled form, mysterious Man, occupied a pedestal composed of figures of the five senses. Underneath the basin the Virtues struggled with the Vices. Minor groups depicted the different ages. The most remarkable was Mr. Konti's Despotic Age. The grim tyrant sat in his chariot, driven by Ambition, who goaded on the four slaves in the traces, while Justice and Mercy cowered in chains behind. In the opposite court was told the story of Nature. Most striking there was Mr. Elwell's figure of Kronos, standing, with winged arms, on a turtle. From the Fountain of Abundance on the Esplanade, Flora was represented as tossing garlands of flowers to the chubby cherubs at her feet. The main court, dedicated to the achievements of man, had groups representing the Human Intellect and Emotions. The sculptures about the Electric Tower naturally related to the Falls. There were primeval Niagara and the Niagara of today, as well as figures symbolic of the Lakes and the Rivers. [Illustration: Statue of buffalo.] Group of Buffalos--Pan-American Exposition.