It was evidently the aim of the sculptors to express in their work, in so far as they could, the character of the Exposition. And the breadth of the plans gave them, a wide scope. They must have welcomed the chance to exercise their art for the pleasure of the multitude, an art essentially popular in its appeal and certain to be more and more cultivated in our every-day life. Though this new city was to be for a year only, it would surely influence the interest and the taste in art of the multitudes destined to become familiar with it and to carry away more or less vivid impressions. The sculpture, too, would have a special advantage. Much of it, after the Exposition, could be transferred elsewhere. It was safe to predict that the best pieces would ultimately serve for the permanent adornment of San Francisco - by no means rich in monuments. Mural Painting It was felt by the builders of the Exposition that mural decorating must be a notable feature. The Centennial Exposition of '76 had been mainly an expression of engineering. Sixteen years later architecture had dominated the Exposition in Chicago. The Exposition in San Francisco was to be essentially pictorial, combining, in its exterior building, architecture, sculpture and painting. When Jules Guerin was selected to apply the color it was decided that he should choose the mural decorators, subject to the approval of the architectural board. The choice fell on men already distinguished. all of them belonging to New York, with two exceptions, Frank Brangwyn of London, and Arthur Mathews, of San Francisco. They were informed by Guerin that they could take their own subjects. He contented himself with saying that a subject with meaning and life in it was an asset. In New York the painters had a conference with Guerin. He explained the conditions their work was to meet. Emphasis was laid on the importance of their painting with reference to the tone of the Travertine. They were instructed, moreover, to paint within certain colors, in harmony with the general color-scheme, a restriction that, in some cases, must have presented difficult problems. The preliminary sketches were submitted to Guerin, and from the sketches he fixed the scale of the figures. In one instance the change of scale led to a change of subject. The second sketches were made on a larger scale. When they were accepted the decorators were told that the final canvases were to be painted in San Francisco in order to make sure that they did not conflict with one another and that they harmonized with the general plan of the Exposition. Nearly all the murals were finished in Machinery Hall; but most of them had been started before they arrived there. Painting For Out-Doors