The colouring is kept deliberately low and subordinate to the two main features of the design--architecture, and the plastic forms of men and women.

Flesh-tints, varying from the strong red tone of Jonah's athletic manhood, through the glowing browns of the seated Genii, to the delicate carnations of Adam and the paler hues of Eve; orange and bronze in draperies, medallions, decorative nudes, russets like the tints of dead leaves; lilacs, cold greens, blue used sparingly; all these colours are dominated and brought into harmony by the greys of the architectural setting.

It may indeed be said that the different qualities of flesh-tints, the architectural greys, and a dull bronzed yellow strike the chord of the composition.

Reds are conspicuous by their absence in any positive hue.

There is no vermilion, no pure scarlet or crimson, but a mixed tint verging upon lake.