of tone. With the exception of Mr. Dodge’s composition in the Administration Building, neither of the other buildings fronting on the grand plaza has any purely artistic decoration, although the hemicycle and portions of the Electricity Building, and the extensive arcades of the Machinery Building, are all treated with flat colors to supplement this architectural ornament, the former by Mr. Maitland Armstrong, the latter by Mr. E. E. Garnsey, of F. J. Sarmiento & Co. Across the south canal, however, a blaze of richly colored panels in the pavilions of the Agricultural Building, with here and there a figure of an animal half hidden by the superb Corinthian columns, shows where Mr. G. W. Maynard and his assistant, Mr. H. T. Schladermundt, have converted, by the magic of their art, the uninteresting plaster surfaces into a series of elaborate pictures. This decoration has been planned with great attention to the appropriate character of its individual features. There are two pavilions at either end of the building, with a large doorway breaking the wall into two panels, each one of which has a dado of elaborate ornament, a narrow border of conventionalized Indian corn on each side, and great garlands of fruit on top framing an oblong rectangle of rich Pompeian red with a colossal female figure of one of the seasons. Above the two panels, and connecting them by a band of color, is [Illustration: “AUTUMN,” PANEL BY G. W. MAYNARD, IN THE AGRICULTURAL BUILDING.] a frieze with rearing horses, bulls, oxen drawing a cart of ancient form, and other small groups of agricultural subjects. The focus of the decorative scheme is naturally at the main portico, the entrance to the Rotunda, called the Temple of Ceres, with the statue of the goddess in the mysterious twilight of the graceful and impressive interior. The portico is treated on much the same plan as the side pavilions, but as it provides a much greater area of wall surface, Mr. Maynard has been able to introduce a richer combination of colors and a greater variety of figures. “Abundance” and “Fertility,” two colossal [Illustration: “PEARL,” BY WALTER SHIRLAW, IN A DOME OF THE NORTH PORTAL, MANUFACTURES BUILDING.] female figures, occupy, with the richly ornamented borders, great flat niches on either side of the entrance, and are flanked in turn on the side-walls by the figure of King Triptolemus, the fabled inventor of the plough, and the goddess Cybele, symbolical of the fertility of the earth, the one in a chariot drawn by dragons, the other leading a pair of lions. These figures, as well as those in the four porticos, are treated in a broad, simple manner, so that they carry perfectly to a great distance and at the same time lose nothing by close inspection.