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r ft h i i .imp : ' .ll'" v I" I l ' I'i ;!'! i ny t (' ,i '. i- .1 fi'v i u i ii ; i ' i. j.!, :!(!. ut Ir.i.-. tl-..it . : I . i . . ; i if tin' Aii lit' ii.i 'li'l'i"U -Iv Ull.liT a 111', li' t n:'.r of .'virnrr. tin' (ii ij'.iiiiil Aui i.ia i ! . 1 : i ' t haw ailiii'.nl l i Jii-t.n y. flirt .in.l I:.--lie: w tl.it'C : ' I i 1 : pc'trtiin. A ii v I, , , !;. ..! 1 . v W.'h hi". r 1. 11 'II I v, I l;.;h':...'. It A.,, i .: ;' to tah. that '-ii-o-' i'-'l, -.'r-.i'ii a". I ritio it of t Aaio'a !..;.!is. It v a. , .. i f tli .... m'IM'1' little enimiii-i io'ii v.hi.ii tl." evp"'-i-tlnl) (iileitois hii'.e I ;ol - uh a hahit of liehtlv ili -li ihi.tii ir. Itjt well liiive they s I, , tnl th. lr men it was a ( ommi--ion i xemiteil with the sarin' c jie.lit ion nn'l suc cess that the conimi.--ion was exe cuted, for iiistanw, to Imihl the lare;. est frame structure wuwr .me ro'T in the world today; that the com- mission was executed to paint on ex- terior walls mural canvases ty fa- mou3 artists, when sut h a thing Inid never been done before: that the commission was executei! to en ate here a new and distinctively western school of architecture; that the com- mission was executed to paint an ex- position in color for the first time in history; that the commission wm executed to produce a landscape ef- u s-fi si 7 VI .5 1: . ;(,! A,.v. i i.' ,' Ail' .v.'i .iiii KM . "i i mi; nl I'll! I' rh . i iih.l I'.in I. it-1 i i h nil i v i! r,,l ,, , I :, n V I ' I f .lit I I . ..".' 'ifr '; -,. i! ,-'.'. ' ... r (''. n hi it rf ln;l, :i. i rntirr luittrii in .' . ( 'A. ,,,, in th, :. '. ';, ' ,:ihl i:. I'nili A t . . t ' ( ItHnir f(nit:t!i,ni fit I hi' wiir. Sun I-'raiu'iii'o i.-i not iniir aii ni a.lmr IViyi'- in. I a i,i-'lil. in liin.r m'iii.' ilii', ii'i,t. It is tho i 1 1 1 1 : i i i -ili nia 1 ni'ia I 1 a posit ion i nun' oi ih'iN . -1 1 :i 1 11 iv mi a hi u f pai uh' tho Aurori Iri t that ios (In' sci iii i ii lt of fai'il rii - I oi .( i'iI for a m'licrat ion. Hou-i'mt h,. ,t this htil.' trillc of s,...u-i' liyaii rxi'i'iiti'il his rum-iiii-:.ion. The Aurora llorralis is hrro. I.oi atr.l on the yiii-ht hai l or (.f tlu' c.o-il inn i, a iniiiiatui'.' Morn) ci-tli' loiuliiaiiiir, oihlly i'iiou;'h, thr tiopir wiih tli,. toiiipi'i-ato zmie in thi: arrtii- rircli- fi at nri - an.l in this rn-il,' i a s,'ii't illa'or of :;,r.iui,. I ou.iKiii rav.il.' jiowi-r. I'lom this t,,. Aurora llnrrai,; lnir.-.t in oll'iikroiu'c an.l '!.! y. mill' on mile in spi oail, J'i"'ii tho (h.hii ii ;..! to tinihoi i'. 'I a"n!':iis an I ,'o n t i r st i irho- of '' ''iv to toiirli with fri,Ti,i!v fii'"t- '! o looKv o! I u ha!,. i ti, (' up II ' 1 ' ' :i tho p'a. i.l aiirhora'vs , f t! . , laary. ' ' ' "' ' f ;-i:r I .,-oi. rl .rs v h : . . ' - . 1 In - - I., -i.l, .. tin.! ' ' ! ' ' i j- ;" i!;"..r to roi'ii'h to ' ' '" !. f ! :i i ."i':'.i- of mi. i to t i, ' '' k I h:.' !o: ii' . op, ' at :", is - nic ii 1 1 ira',' as the maii- '"T ; ;-! i. f'-i I i;.tt.-ry. '."iil i'ii ih r. i 1 1 ins , f Mr, I' if. Cn'y, lalhor than ' V ' :' i'.Mo'i i s. the 'ill! a'i.1 total '" :: irn.i. I elVeet of illunii- J M i- to n.vile ami hoi, I i-itois. 'I 1 e i I:art ; n from the "manual of op. ; atioii" are hnt three rv t of thirty 'l ri e. No iii p!av la-ts loi.eT than l'e niiiutes ami tunny of the liehtissir "iT.'its whitl one after tho rll er at minute It ti ra!s. The Aurora llorealis is ly no means the only speetaetilar effect. 'Ihere is tho trran.l ilhiinination of the epoition, itnhi, 1 in ir Alcntruz J-! ;itnl utiJ tho hills of Ma in, uross the lay. There is the I.eam dance Spook's parade, Plumr of Paradise, Cloud salvo, pevil's Fan, Chromatic Wheels, Fairy Feathers and tho Sun- hurst. Sui.et clouds burst forth in the nij;ht and piotes.pje figures nive across the heavens marked by the rays of searchlights. Steam Fer- in-nts pit and hiss an they pyrate. Mines explode into preat banks of pmoke frivin forth ri.dintiong of every known shade aiuf tint, and many that the average person does M not know. Tliere are in all 300 effects worked nut by the Scintillator in addition to the Aurora Unreali lhit Mr. Kyan would not thank anyone to center him entirely in his Aurora lhuealis, which is classed rather as an attraction feature. It is in the utility phase of the science of illumination or the art, for Mr. Kyan has made of his illumination an art that the effects of most pro found revelation in litrhtini; are se cured. And yet, without the color scheme of Mr. Jules Guerin not Monsieur, as Guerin complains, for he is exceedingly democratic and everyday Americati these lighting effects, colorful thoufh they 'are, would fail of their richness. Tho man who deals with carbons, fila ment?, amperes and voltages Is not generally held to carry in his system .'III 'ill U I, 4'" If? TWi- f. ; ., J -J' ' J .-.-JC. . .:.. ....iv.v. the temperament of the man who deals in colors and canvases. Hut Mr. Kyan is a temperamental me chanic. There is a great deal of the poet in him. He has occasional glimpses into the fourth dimension, ju.st as the artist and the sculptor and the master writer have. That is why (luerin and Kyan have worked out so esthetically the scheme of this exposition, by which color and licht are co-ordinated as nature intended they should be. In itially, the color scheme of the ex- position was designed to meree this vast artificial creation with the set ting of nnfurc in which it has been jdaced. (ilints of greens blend with lawn and landscape; browns and rus sets with hill and sandy beaches; ultramarines with the cht.nging hues of the bay before; reds with the sun UP 1 :.: i ' s '' V. v - ": . ' 11" set tints that aureate the Golden Gate and cerulean blue that reflects the tones of the skies above. It is a poetical conception: a dreamy, radiant glowing that en velops the practical detail of ground and dimension, with the glorious in vestiture of some new creation of enchantment by the fabled god of light. To handle superlatives with con viction is the particular ability of a Carlyle or a circus press agent. Be tween these two extremes of intel lectual effort the average writer makes a sorry mess. When the bald statement is made that the exposi tion lighting is an achievement in the superlative everything has been said. It is a step ahead of any thing that has been attempted. On the entir. area of the exposition- AC "SIS1.1- ; 'J IB "y-ii is A " . .' Wf '..eV ;'J: 5. . ft .-(::. ;.--.'; v;;:. v.;;i. ; v ... ' '. . " " . except alone in the Zone, where a carnival atmos phere is sought there is not an arc light or cn in candescent to fret the eye. Flood and indirect light ing have been developed to an extent where the facades, colonnades, tow ers and domes of the mighty palaces glow un der the subdued rays of concealed lights as they do by day. There are ei;;ht colors used in the exposition scheme and it is on the e rich times and tints that the lights play with en chanting effect. Traver tine, a buff or old ivory in successftil imitation of Italian Travertine stone, is tho foundation color of the exposition. Against this is used French green, in lattices, flower tubs, curbing of grass ': I, ..;.' I? plats, etc., oxidized cop per green, a peculiar mottled green used on ten of the domes to give the effect of nge arid afford a pleasing though subdued contrast with the sky; blue green; pinkish red green, used on the flagpoles; wall red, in three tones, found in the backgrounds of colonnades, niches, arches, sculpture; yellow-golden-orange, largely Used in enriching the Travertine and in deepening shadow effects; cerulean and Oriental blue, verging upon green and used in ceil ings and vaulteid recesses, coffers, and in the background of ornamenta tion; gray and verde antique. To these colors all artists employ ed at the exposition were restricted. In harmony with these colors are the lighting effects.- Throwing forth in mellow, incarnadined relief a lofty H 'I :; . J. ' ; ,f ' ( . platform of columns here, or empha sizing the cloistered depths of a re tessH colonnade there, the beams and rays bathe the undulating opal escent expanse in a shifting, shim mering kaliedoseope. ' Centered on the two dominating sculptured groups the Nations of the Fast and the Nations of the West are search lights which lift these Homeric groups apart from their architec tural environment and from a dis tance the illusion is complete of the theme on which the exposition is founded: the meetings of the na tions of the world. The mighty elephant with brilliant howdah that centers the one group seems march ing, with nttendant Arabs, Shieks and Mohameddans, across the Court of the Universe, to meet tho advanc ing prairie schooner and cowboys, Indians and pioneers which are grouped around the great wagon of the companion group. It is precisely as though one saw, silhouetted in evening russets against the horizon, the living cavnlcades. Elsewhere spraying and playing fountains are centered in radiance; individual bits of sculpture picked out by a vagrant ray in the foliage; fluttering standards and gonfalons in the colors of red, orange and blue; while high in the heavens, as fire works release them, the flags of all the nations float downward with the breeze, followed in their course 'by detective searchlights. From the Aurora to the last tiny beam of cardinal that seeks out a sequestered nook and illuminates some appropriate sculptured figure from the Arabian nights the illusion of forgotten dreams of childhood's embowered, empurpled visualization of faryland and fable, is complete. It is something that long will linger, this vision by night that bursts in glory ujidcr the release keya of Mr. RyanSi magic switchboard.