Part 2 (1/2)

The Color Scheht man must be found or the result would be disastrous The choice fell on Jules Guerin, long accepted as one of the finest colorists auidance of the natural conditions surrounding the Exposition, the hues of the sky and the bay, of the reen to tawny yellow, and of the ht

And he worked, too, with an eye on those effects of illuht, utilizing even the tones of the fog

The Planting

There was no difficulty in finding a arden that was to serve as the Exposition's setting For many years John McLaren had been known as one of the uished horticulturists in this part of the world As superintendent of Golden Gate Park he had given fine service Moreover, he was familiar with the conditions and understood the resources and the possibilities Of course a California exposition had to maintain California's reputation for natural beauty Itthe marvelous endowment of the State in trees and shrubs and plants and flowers and shohat the clirowths

The first step that McLaren took was to consult the architects They explained to hiave hiainst walls sixty feet high he planned to place trees that should reach nearly to the top For his purpose he found four kinds of trees most serviceable: the eucalyptus, the cypress, the acacia and the spruce In his search for what he wanted he did not confine hiht down froon Some of his best specimens of Italian cypress he secured in Santa Barbara, in Monterey and in San Jose He also drew largely on Golden Gate Park and on the Presidio In all he used about thirty thousand trees,the Landscape

Two years before the Exposition was to open McLaren built six greenhouses in the Presidia and a huge lath house There he assembled his shrubs, his plants, and his bulbs In all he must have used nearly a million bulbs From Holland he imported seventy thousand rhododendrons

Froht two thousand azaleas In Brazil he secured some wonderful specirapanthus, that grew close to the Nile A native flowers he collected six thousand pansies, ten thousand veronicas and five thousand junipers, tothe multitude a flowers that he intended to use for decoration The grounds he had carefully mapped and he studied the landscape and the shape and color of the buildings section, by section

The planting of trees consuet by nificent Fine Arts Palace, both in his groupings and in his use of individual trees About the lagoon he did so the water for reflection There was a twisted cypress that he placed alone against the colonnade with a skill that showed the insight and the feeling of an, artist On, the water side, the Marina, he used the trees to break the bareness of the long esplanade And here and there on the grounds, for pure decoration, he reached some of his finest effects with the eucalyptus, for which he evidently had a particular regard As no California Exposition would be complete without palm trees, provision wasof the , the first planting of the gardens was co the Exposition The flowers included rown here in California or capable of thriving in the California spring clieraniulove, hollyhocks, lilies and rhododendrons The autuuerites

The Hedge

As the work proceeded, W B Faville, the architect, of Bliss and Faville,of a fence that should look as if it were estion McLaren devised a new kind of hedge likely to be used the world over It was , a two-inch layer of earth, held in place by a wire netting, and planted with South African dew plant, dense, green and hardy and thriving in this cliht of several feet, reat beauty, Moreover, they could be continuously irrigated by a one-inch perforated line of pipe In certain lights the water trickling through the leaves shi+ems In summer the plant would produce masses of small purple flowers

McLaren found his experie twenty feet high, extending e extensively in the landscape design for the Palace of Fine Arts

The Sculptors