4. Pinkish-Red-Gold, used in the flag poles and lighting standards only. It is a very brilliant and striking pigment, and is always topped with gold. 5. Wall-Red, used in three tones. They are found in the backgrounds of the colonnades, courts and niches, on the tiled roofs, and in the statuary. These reds run from terra-cotta to a deep russet, and predominate in the interiors of the principal courts. 6. Yellow-Golden-Orange, largely used in enriching the travertine and in enhancing shadow effects. It is found in the architectural mouldings and in much of the statuary. The following rule was adopted in regard to the coloring of the statuary: That which is high off the ground, that is, the figures surmounting the domes and spires, is of golden yellow, while that close to the eye of the beholder is of verde-antique, a rich copper-green streaked with gray, and much is left in the natural travertine tint. 7. Deep Cerulean Blue and Oriental Blue, verging upon green, are used in the ceilings and other vaulted recesses, in deep shadows, in coffers and in the background or ornamentation in which travertine rosettes are set in cerulean blue panels. It might be called electric blue. It is brilliant and at the same time in harmony with the other colors. 8. Gray, very similar to the travertine. 9. Marble Tint, spread over the travertine in places with a transparent glaze. 10. Verde-Antique, really one of the many shades of green--a combination of the copper-green and a soft gray, and therefore not to be counted as one of the nine cardinal colors. It simulates corroded copper, and has faint yellow and black lines. With the gamut thus restricted by the taste and discrimination of a master, the decorators and artists were strictly limited to the nine colors named. No one might use other than cerulean blue, if he employed blue at all; no other red than the tone popularly known as "Pompeiian" has been admitted in the scheme. In this red the admixture of brown and yellow nullify any tendency towards carmine on crimson. The French and the copper greens and the intermediate shades approved by Guerin are the only greens allowed. Here is seen the great advantage of a one-man idea. No other exposition was ever so carefully or successfully planned in this particular. There is no court of one color clashing with a dome, palace or tower of conflicting tone, whether near by or at a distance. All is in harmony.