Even the open stops in this organ are of more than ordinary dimensions. The usual limit in a pipe organ is the sixteen-foot open stop. But in this organ there are several pipes, both of wood and of metal, thirty-two feet or more in length. Two small buildings, balanced on either side of the Scott-street entrance, are the Press Building and the Exposition home of the National Young Women's Christian Association. They are alike, French in style, and fronted with caryatid porches. The real glory of the South Gardens lies in their flowers, and in the charming setting the landscape engineers have here given to the south facade of the palace group. There is the air of Versailles in the planned gayety of the scene. In this the pools and fountains, the formal gardens, the massed trees and shrubbery, and the two palaces themselves, play their part. IV. "The Walled City": It's Great Palaces and their Architecture, Color and Material The central group of Exposition structures really a single vast palace, behind a rampart--Historical fitness of such architecture here--The south facade--Spanish portals of Varied Industries and Education Palaces--Italian Renaissance portals of Manufactures and Liberal Arts, and of the Courts of Flowers and Palms--The Roman west wall--Ornate doorway of north facade Interior courts and aisles--A balanced plan-- This the first exposition to adopt the colors of nature for its structures--Jules Guerin's color scheme, designed for an artificial travertine marble--Simplicity of his palette, from which he painted the entire Exposition--Even the flowers and sanded walks conform. Although there are eight buildings named in the central palace group, these are so closely connected in design and structure that in reality they make but one palace. Here is seen the unity with variety which marks this Exposition above all others. Commemorating a great international event, its architecture is purposely eclectic, cosmopolitan. Under a dominating Moorish-Spanish general form, the single architect of the group, W. B. Faville, of San Francisco, drawing upon the famous styles of many lands and schools, has combined into an ordered and vastly impressive whole not only the structural art of Orient and of the great Spanish builders, but also the principles of the Italian Renaissance and the architecture of Greece and Rome from which it sprang. Thus the group is wholly Southern in its origin. There is no suggestion here of the colder Gothic architecture of the North.