The lighting of the Exposition, it was determined, should be given to the charge of the greatest expert in the country. Several of the leading electric light companies were consulted. They agreed that the best man was Walter D'Arcy Ryan, who had managed the lighting at the Hudson-Fulton Celebration and at the Niagara Falls Exposition. Mr. Ryan explained his system of veiled lighting, with the source of the light hidden, and made plain its suitability to an Exposition where the artistic features were to be notable, and where they were to be emphasized at night, with the lighting so diffused as to avoid shadows. After his appointment as director of illuminating he made several visits to San Francisco, and a year before the opening of the Exposition, he returned to stay till the close. His plan of ornamenting the main tower with large pieces of cut glass, of many colors, to shine like jewels, created wide-spread interest on account of its novelty. It was generally regarded as a highly original and sensational Exposition feature. Watching the Growth As the building went on the San Franciscans gradually became alive to the splendor. Each Sunday many thousands would assemble on the grounds. About a year before the date set for the opening an admission fee of twenty-five cents brought several thousands of dollars each week. On the Sundays when Lincoln Beachey made his sensational flights there would often be not less than fifty thousand people looking on. The Walled City If there were any critics who feared that the walled city might present a certain monotony of aspect they did not take into account the Oriental luxuriance of the entrances, breaking the long lines and making splendid contrast of design and of color. Those entrances alone were worth minute study. Besides being beautiful, they had historic significance. Furthermore, the long walls were broken by artistically designed windows and by groups of trees running along the edge. Within the walls, in the splendidly wrought courts, utility was made an expression, of beauty by means of the impressive colonnades, solid rows of columns, delicately colored, suitable for promenading and for protection against rain. From the hills looking down on the bay the Exposition began to seem somewhat huddled. But the nearer one approached, the plainer it became that this effect was misleading. On the grounds one felt that there was plenty of room to move about in. And there was no sense of incongruity. Very adroitly styles of architecture that might have seemed to be alien to one another and hostile had been harmoniously blended. Here the color was a great help. It made the Exposition seem all of a piece. The War