great pediments of the north and south entrances. The yellow of the Electricity Building is relieved by gray trimmings and green doorways, which are elaborately enriched in their ornamentation by delicate shades of the prevailing tones used throughout the exposition. The Agricultural Building is warmer, and there are blue, yellow,

and ivory, and stronger notes of red and green in the entrances. The restaurants are ivory and French gray. The sashes and doors are painted green, and the minarets and pinnacles are tipped with gold. The Propylæa, which curves across the north end of the grounds, has a wide-open arcade, the panels of which are enriched with brilliant red, where white statues are placed, while the panels above are a bright yellow. The ceilings are blue, and the trellis above is made a strong violet hue. Violet occurs again at the entrances from the railway station through the great arch. The Railway Transportation Building is in a French gray, with green roof and ivory and gold trimmings, while the Stadium, one of the most imposing buildings of the exposition, will be a light ivory-gray, with pale blue-green sashes and doors. The tower is a very light ivory, and is enriched in the capitals, brackets, finials, stars, pinnacles, etc., with gold, and is crowned with a gilded figure of the Goddess of Light. The panels have the brightest fresh blue-green we could make, and are intended to suggest the water as it curves over the crest at Niagara."

Considering the buildings more in detail, and beginning at the north entrance, we reach, first, the

Electric Tower, which was designed by John G. Howard, and was 375 feet high. The main body of the tower was 80 feet square and 200 feet high. The crown was in three parts, of diminishing proportions, the first of these being an arcaded loggia having wall surfaces brilliantly colored and richly ornamented in all details. Pavilionettes adorned each of the four corners and terminated in light, fantastic cupolas. Above the loggia was a high circular colonnade, entirely open, so as to allow the effect of the sky to be seen between the columns. A spiral stairway in the center led up to a domed cupola, on which was poised a figure, 16 feet high, designed by Herbert Adams and known as the Goddess of Light, which overlooked the entire exposition. At the base of the tower, and on the sides, were two colonnades, 75 feet high, which swept southward, forming a large semicircular space, opening toward the Court of Fountains. In the niches of these wings, running from west to east, were groups of statuary, representing Lake Michigan, by Louis A. Gudebrod; Lake Superior, by Philip Matiny; Lake Ontario, by Ralph Goddard; Lake St. Clair, by Henry Baerer; Lake Huron, by Philip Martiny; and Lake Erie, by Carl E. Tefft. The spandrels of the niche in the south face of the

tower and the smaller ones above the arch of entrance on the north side were modeled by Adolph A. Weinman, under the direction of Karl Bitter. They represented the four rivers-Niagara, Buffalo, St. Lawrence, and St. Clair. The keystones of these arches were modeled by the same sculptor. The groups ornamenting the pylons on the south side adjoining the water niche were modeled by George Gray Barnard, and typified The Great Waters in the Time of the Indian and The Great Waters in the Time of the White Man. The frieze, with children, garlands of fruit, and eagles, beneath the loggia at the top of the shaft, was executed by Karl Bitter, director of sculpture.

Agriculture Building.-This structure, east of the Electric Tower, was designed by George F. Shepley, and was 150 feet in length, facing the Court of Fountains, while the principal front, 500 feet in length, was on the Mall. The chief entrance was on this side, facing the Manufactures and Liberal Arts Building. Around this entrance was the greatest amount of enrichment, it being decorated with designs of fruits, vegetables, and flowers, expressing the character of the building, while large corbels were in the form of heads of animals of the field. A similar idea was shown in the decorations of the cornice. On the south side of the building, overlooking the Mall, was a loggia, formed of arches resting on single columns, with a ceiling of groined vaulting. The general treatment of the exterior was in the Spanish Renaissance.

Manufactures and Liberal Arts Building.This building, designed by George F. Shepley, was southeast of the Court of Fountains, and separated from the Agriculture Building by the Mall. It occupied a space 350 by 500 feet, with a courtyard in the center, which was 132 by 170 feet, and was surrounded by a portico about 15 feet wide, with openings through semicircular arches, supported by square pillars. On the front of the building, between the arches, were the seals of the governments of the various South American republics, while over the entrance was a group of statuary typifying the arts and manufactures, designed by Bela Pratt. The building was entered from the middle of all four sides, and also from the pavilions on the corners. The south or upper front of the building faced the Court of Cypresses, and in the center of the front was the principal feature of the building, a great dome rising to a height of 130 feet, surrounded by four towers.

Electricity Building.-On the other side of the Electric Tower, opposite the Agriculture Building, was the Electricity Building, designed by Green & Wicks. It was 500 feet long from east to west, and 150 feet wide, covering 75,000 square feet. This building followed the Spanish-mission style of architecture, with Renaissance features. The entrances in the northern and southern façades consisted of arches between tall towers, while the towers carried ornamental cupolas. Surmounting the four corner towers were domed pavilions, and the spaces between the towers were embellished with colonnades and grilled windows. The roofs had broad, overhanging eaves, and the total height of the building was 160 feet.

Machinery and Transportation. This building was directly south of the Electricity Building, and was on the west side of the Court of Fountains. It was designed by Green & Wicks, who followed the Spanish-American Renaissance style of architecture. Its dimensions were 500 feet from east to west, and 300 feet from north to south. The main entrances on the north and south façade were flanked on either side by tall towers having open lanterns and an intricate detail of plastic

ornamentation. The entrances were all rich in decorative work, and the walls were broken with arcaded windows, finished with ornamental grilled screens. Each façade was thus enriched with important architectural features, and at the four corners were open pavilions with red-tiled roofs that had broad overhanging eaves.

Temple of Music. This structure, designed by Esenwein & Johnson, was at the northeast juncture of the Esplanade and the Court of Fountains, and south of the Machinery and Transportation Building, from which it was separated by the Court of Lilies. It was octagonal, and occupied a site 150 feet square. It was surmounted by a dome 180 feet high, suggestive in proportions of the dome of the Pantheon at Rome. În treatment the building was highly ornate, and it was profusely decorated with pilasters sculptured in relief, and over each of the four pediments was a sculptured group by Konti. The auditorium of the building had seating accommodations for 2,200 persons, and contained one of the largest organs ever made in the United States, built by Emmons Howard & Son. This was presented to the city of Buffalo at the close of the exposition by James N. Adam.

Horticulture Building.-At the extreme west end of the Esplanade was the Horticulture Building, designed by Robert S. Peabody. It was 220 feet square, with a dome and lantern rising to a height of 240 feet. The building was formed on the plan of a Greek cross, with four large arches on the principal axes, and small octagonal pavilions filling in the corners. The entrance from the Esplanade was framed under an ample pediment ornamented with rich decorations in relief, and picked out in color like the majolica work of Italy. Its style of architecture was more suggestive of the buildings of northern Italy than of Spanish-America.

Graphic Arts and Mines Buildings.-These two pavilions, which formed part of the horticultural group, were also designed by Robert S. Peabody, and were connected with the Horticulture Building by means of covered conservatories, filled with blossoming hothouse plants. The Graphic Arts Building was to the north, and was to the west of the Temple of Music. At the southwestern end of the Esplanade, and connected similarly with the Horticulture Building by an arcade used as a conservatory, was the Mines Building. These two pavilions were square, with four towers in the corners, and a loggia of three arches forming the entrances to the building, and had a floor space each of 30,000 square feet. The Fountain of Nature, by George F. Brewster, was directly in front of the east entrance of the Horticulture Building. Government Buildings.-This group, which was on the east side of the Esplanade, was designed by J. Knox Taylor, supervising architect of the Treasury Department. The group, similar to the horticulture group, consisted of three structures connected by curved arcades. The style of architecture was Spanish-American, and suggested the great cathedral of the city of Mexico. The large central structure was made picturesque by numerous small towers and gilded domes and the use of Mexican gables at the north and south ends, and was crowned by a dome on which was an imposing figure of Victory. The height of the building was 250 feet, or 270 feet to the top of the statue. The pavilion to the south was occupied by the fishery exhibits, while the pavilion to the north contained the collections from the Philip pines.

Ethnology Building.-This building, which was designed by George Cary, was west of the Gov

ernment group of buildings, and south of the Court of Cypresses, which separated it from the Manufactures and Liberal Arts Building. Its general design was classical, with Renaissance decorative treatment. The building was circular in plan, with the main entrances on the diagonal axes. Between and connecting these was a continuous colonnade with a decorative frieze over the windows. Above the colonnade was a promenade with balustrade, and figures representing the five different races. Over each of the four entrances was a pediment, with the Pan-American seal forming a decorative motive of the triangular space above the gable. The building was covered by a dome resembling that of the Pantheon at Rome, 150 feet high.

The Stadium. This amphitheater for athletic sports was designed by Walter Cook, and was in the northeastern part of the grounds. It was modeled after the Pan-Athenaic Stadium, which was cut in the side of Mount Pentelicus, near Athens, more than two thousand years ago, and was 680 feet long and 450 feet wide. The exterior consisted of a series of columns, with arches between, while the interior had seats for 12,000 persons, backed up against the arcade, and terminated by a sort of attic forming a promenade around the entire building. On the west side was the main entrance, above which was a tribune, with seats covered by a roof. The arena was laid out to obtain a quarter-mile running track, and its extreme dimensions were 569 feet in length and 260 feet in width.

The Propylaa.-This structure was also designed by Walter Cook, and consisted of a colonnade surmounted by a sort of pergola with green vines, flanked by two large archways, giving access from the railroad station. It formed the extreme north side of the Plaza, serving, as far as possible, to shut out the noise and smoke of the railway-trains. It was 500 feet long, and the gateways were broad arches 54 feet high and 36 feet wide. Two high, open towers surmounted the arches on either side, and statues were placed between the columns against a background of color.

Art Building. This building was designed by Green & Wicks, and was at the extreme southeast end of the grounds, on a knoll 35 feet above, and west of, the Park Lake. It was in the Ionic style of architecture, resembling the Erechtheum in Athens. It was 250 feet by 150 feet wide, and was of fire-proof construction, being built of white marble and bricks. This building is to be a memorial of the exposition, and was given by J. J. Albright, of Buffalo, to his fellow citizens. It is to be the permanent home of the collection of the Buffalo Fine Arts Academy, which has been made the custodian of the property. Its cost was upward of $350,000.

New York State Building.-This structure, designed by George Cary, is in the classical order of architecture, and follows the lines of the Parthenon in Athens. Like the Art Gallery, it is to be a permanent structure, and it was in the southwest end of the grounds, facing the north bay of the lake. In form it was a rectangle about 130 feet long by 80 feet wide, with a height of 50 feet. At the close of the exposition it became the home of the Buffalo Historical Society, and the large collections and library of that organization are to be preserved within its walls. The northern façade is faced with three-quarter columns, and the entrance is through a vestibule, the bronze doors of which were the gift of Andrew Langdon, President of the Buffalo Historical Society. The southern entrance was through a portico, embel

cabins of the early settlers; the Ordnance Building, which formed a sort of annex to the Government Building, and was in the Spanish style of architecture; and the Woman's Building, which was a frame structure, formerly the home of the Country Club. The State buildings included those erected by the commonwealths of Dakota, Illinois, Michigan, Minnesota, New Jersey, Ohio, Pennsylvania, Wisconsin, and one by the New England States. The foreign governments that had buildings were Canada, Chile, Cuba, Ecuador, Guatemala, Honduras, Mexico, Porto Rico, and Santo Domingo. In addition to these may be mentioned the buildings of the United Workmen and the Knights of Maccabees, and the Mission Building. Inscriptions.-Dedicatory inscriptions, written by Richard Watson Gilder, appeared on the vari ous buildings. They were as follow: Agriculture Building: Panel I-To the ancient races of America, for whom the New World was the Old, that their love of freedom and of nature, their hardy courage, their monuments, arts, legends, and strange songs may not perish from the earth; Panel II-To the scholars and laborious investigators who, in the Old World and the New, guard the lamp of knowledge and, century by century, increase the safety of life, enlighten the mind, and enlarge the spirit of man. Machinery and Transportation Building: Panel I-To the great inventors and far-seeing projectors, to the engineers, manufacturers, agriculturists, and merchants who have developed the resources of the New World and multiplied the homes of freemen; Panel II-To those who in the deadly mine, on stormy seas, in the fierce breath of the furnace, and in all perilous places working ceaselessly, bring to their fellow men comfort, sustenance and the grace of life. Manufactures and Liberal Arts Building: Panel I-To the explorers and pioneers who blazed the westward path of civilization, to the soldiers and sailors who fought for freedom and for peace, and to the civic heroes who saved a priceless heritage; Panel II-To the prophets and heroes, to the mighty poets and divine artists, and to all the light-bearers of the ancient world who inspired our forefathers

justice, and have been faithful to the things that are eternal. The great pylons of the Triumphal Causeway (on the pylons are statues of Courage, Liberty, Tolerance, Truth, Benevolence, Patriotism, Hospitality, and Justice): Panel I-The spirit of adventure is the maker of commonwealths; Panel II-Freedom is but the first lesson in self-government; Panel III-Religious tolerance a safeguard of civil liberty; Panel IV-A free state exists only in the virtue of the citizen; Panel V-Who gives wisely builds manhood and the state, who gives himself gives best; Panel VI

To love one's country above all others is not to despise all others; Panel VII-The brotherhood of man, the federation of nations, the peace of the world; Panel VIII-Between nation and nation, as between man and man, lives the one law of right. The Stadium: Panel I-Not ignoble are the days of peace, not without courage and laureled victories; Panel II-He who fails bravely has not truly failed, but is himself also a conqueror; Panel III-Who shuns the dust and sweat of the contest on his brow feels not the cool shade of the olive. The Propylæa: Panel I-Here by the great waters of the North are brought together the peoples of the two Americas, in exposition of their resources, industries, products, inventions, arts, and ideas; Panel II-That the century now begun may unite in the bonds of peace, knowledge, good-will, friendship, and noble emulation all the dwellers on the continents and islands of the New World. Ethnology Building: I-"Knowledge begins in wonder" (Plato, Aristotle, Langley); II" Speak to the earth, and it shall teach thee (Job xii, 8); III-"Nothing that is human is alien to me (Terence); IV" And hath made of one blood all nations of men (Acts xvii, 26); V "What a piece of work is a man!" (Shakespeare, Hamlet, ii, 2); VI-" All are needed by each one (Emerson, Each and All); VII-"The weakest among us has a gift" (Ruskin); VIII"No se gano' Zamora en una hora" (Cervantes, Part II, chap. lxxi); IX-"O rich and various man! thou palace of sight and sound, carrying in thy senses the morning and the night and the unfathomable galaxy; in thy brain the geometry