,libraries47 ,,transcriber',s ,,note ,italic text is denoted by underscores4 ,bold text is denoted by equal signs4 ,footnote anchors are denoted by number1 and the footnotes have been placed at the end of the book4 ,some minor changes to the text are noted at the end of the book4 ,illustration3 ,,the ,,new ,,library ,,of ,,congress4 ,,handbook ,,of ,,the ,,new ,,library ,,of ,,congress ,,compiled ,,by ,,herbert ,,small ,,with ,,essays ,,on ,,the ,,architecture1 ,,sculpture ,,and ,,painting ,,by ,,charles ,,caffin ,,and ,,on ,,the ,,function ,,of ,a ,,national ,,library ,,by ,,ainsworth ,r4 ,,spofford ,illustration3 7colophon7 ,,boston ,,curtis ,,cameron #ahig ,,copyright #ahig ,,by ,,curtis ,,cameron ,,the ,,heintzemann ,,press ,,boston ,,preface4 ,the intention of this ,handbook is to furnish such an account of the new building of the ,library of ,congress as may prove of interest to the general reader1 and at the same time serve as a convenient guide to actual visitors4 ,to this latter end1 a system of headings and sub-headings has been introduced1 and the building has been described throughout in the order in which a visitor might naturally walk through it4 ,criticism has been avoided in the general description1 but a brief survey of the artistic qualities of the ,architecture1 ,sculpture1 and ,painting is given in ,mr4 ,caffin's supplementary essay4 ,the writer had intended at first to give rather a full account of the collections of the ,library1 of the ,smithsonian system of exchange1 of the operation of the copyright law1 and of the general system under which the ,library was carried on4 ,so much of what he might have thus described1 however1 would have been entirely changed1 and so much more considerably modified1 by the new methods of administration made possible and necessary by the new building1 that it was decided to pass lightly over all matters connected with the administration of the ,library4 ,should another edition of the ,handbook be called for1 it is hoped that there will be an opportunity to supply this omission4 ,in the meantime it will be found that ,mr4 ,spofford's paper on the ,function of a ,national ,library will serve to indicate the general scope of the institution4 ,the writer desires to express his great obligation1 for much information and courtesy1 to ,mr4 ,bernard ,r4 ,green1 in charge of the ,library during the time that this book was preparing1 to ,mr4 ,edward ,pearce ,casey1 and to ,mr4 ,spofford4 ,without their assistance the book could hardly have been written4 ,thanks are due1 also1 to many of the individual artists for their courtesy in explaining the meaning and application of their work--and in particular to ,mr4 ,elmer ,e4 ,garnsey1 for a great deal of painstaking assistance4 ,h4 ,s4 ,,copyright ,,notice3--,in addition to the general copyright of this ,handbook1 which covers the text and illustrations1 the engravings of the paintings in the following pages are from ,copley ,prints1 copyright #ahif and #ahig1 by ,curtis ,cameron1 the ,prints being made directly from the original paintings1 copyright #ahif and #ahig by the several artists4 ,,table ,,of ,,headings4 ,,page ,,history ,,of ,,the ,,library #b ,the ,burning by the ,british ,troops #b ,the ,acquisition of ,jefferson's ,library #c ,mr4 ,spofford's ,administration #c ,the ,old ,quarters in the ,capitol #d ,the ,agitation for a ,new ,building #d ,,the ,,new ,,building #f ,the ,general ,decoration2 ,mr4 ,garnsey and ,mr4 ,weinert #g ,the ,general ,character of the ,building #h ,,the ,,exterior ,,of ,,the ,,building #i ,the ,faade #aj ,,the ,,entrance ,,pavilion #aa ,mr4 ,hinton ,perry's ,fountain #ab ,the ,ethnological ,heads #ac ,the ,portico ,busts #af ,mr4 ,pratt's ,spandrel ,figures #ag ,,the ,,main ,,entrance #ah ,mr4 ,warner's ,bronze ,doors #ah ,mr4 ,macmonnies's ,bronze ,door #bj ,,main ,,entrance ,,hall #ba ,the ,vestibule #ba ,the ,stucco ,decoration of the ,vestibule #bb ,the ,marble ,flooring #bb ,the ,staircase ,hall #bc ,the ,commemorative ,arch #bc ,mr4 ,warner's ,spandrel ,figures #bd ,mr4 ,martiny's ,staircase ,figures #bd ,the ,ceiling of the ,staircase ,hall #bg ,the ,mosaic ,vaults of the ,first ,floor ,corridors #bh ,mr4 ,pearce's ,paintings #bh ,mr4 ,walker's ,paintings #cj ,mr4 ,alexander's ,paintings #cc ,mosaic ,decorations of the ,east ,corridor #cc ,the ,librarian's ,room #cd ,the ,lobbies of the ,rotunda #ce ,mr4 ,vedder's ,paintings #cf ,the ,second ,floor ,corridors #ci ,the ,decoration of the ,vaults #ci ,the ,printers' ,marks #db ,mr4 ,hinton ,perry's ,bas-reliefs #dc ,mr4 ,shirlaw's ,paintings #dd ,mr4 ,reid's ,paintings #df ,mr4 ,barse's ,paintings #dh ,mr4 ,benson's ,paintings #ej ,the ,decoration of the ,walls #ea ,mr4 ,maynard's ,pompeiian ,panels #eb ,the ,inscriptions along the ,walls #ec ,,the ,,entrance ,,to ,,the ,,rotunda #ee ,mr4 ,van ,ingen's ,paintings #ee ,mr4 ,vedder's ,mosaic ,decoration #ef ,,the ,,rotunda #eg ,the ,importance of the ,rotunda #eh ,the ,general ,arrangement #fj ,the ,alcoves #fa ,the ,symbolical ,statues #fb ,the ,portrait ,statues #fd ,mr4 ,flanagan's ,clock #ff ,the ,lighting of the ,rotunda #fg ,the ,semicircular ,windows #fh ,the ,dome #gj ,the ,stucco ,ornamentation #gj ,mr4 ,blashfield's ,paintings #ga ,the ,rotunda ,color ,scheme #gf ,provision for ,readers #gg ,the ,book-,carrying ,apparatus #gh ,connection with the ,capitol #gi ,,the ,,book-,,stacks #hj ,arrangement and ,construction #hj ,ventilation and ,heating #hb ,the ,shelving #hb ,lighting #hb ,,the ,,lantern #hd ,,the ,,rectangle #hd ,,southeast ,,gallery #hf ,mr4 ,cox's ,paintings #hf ,,the ,,pavilion ,,of ,,the ,,discoverers #hh ,mr4 ,pratt's ,bas-reliefs #hi ,mr4 ,maynard's ,paintings #hi ,,the ,,pavilion ,,of ,,the ,,elements #ic ,mr4 ,r4 ,l4 ,dodge's ,paintings #ic ,,the ,,pavilion ,,of ,,the ,,seals #id ,mr4 ,van ,ingen's ,paintings #if ,mr4 ,garnsey's ,ceiling ,panel #ih ,,the ,,pavilion ,,of ,,art ,,and ,,science #ii ,mr4 ,w4 de ,l4 ,dodge's ,paintings #ii ,,the ,,northwest ,,gallery #aja ,mr4 ,melchers's ,paintings #aja ,,the ,,rectangle3 ,,first ,,floor ,,corridors #aja ,mr4 ,mc,ewen's ,paintings #ajb ,,the ,,house ,,reading ,,room #ajf ,mr4 ,dielman's ,mosaics #ajg ,mr4 ,gutherz's ,paintings #aji ,,the ,,senate ,,reading ,,room #aaj ,,the ,,north ,,corridor #aaa ,mr4 ,simmons's ,paintings #aaa ,,special ,,rooms #aab ,,the ,,basement #aab ,,the ,,architecture1 ,,sculpture ,,and ,,painting #aac ,,the ,,function ,,of ,a ,,national ,,library #abc ,illustration3 ,,minerva #ahif ,,design ,,for ,a ,,mosaic ,,by ,,elihu ,,vedder ,,congressional ,,library ,,washington ,illustration3 7decorative archway7 ,,the ,,new ,,library ,,of ,,congress ,,in ,,washington ,,by ,,herbert ,,small ,the ,library of ,congress in ,washington is not the mere reference library for the legislative branch of the ,government that its name would imply4 ,it is1 in effect1 the library of the whole ,american people1 directly serving the interests of the entire country4 ,it was1 it is true1 founded for the use of the members of the ,senate and ,house of ,representatives2 but1 although the original rule still holds good that only they and certain specified ,government officials may take books away from the building1#a the institution has developed1 especially during the last quarter of a century1 into a library as comprehensively national as the ,british ,museum in ,london1 the ,bibliothque ,nationale in ,paris1 or the ,imperial ,library in ,vienna4 ,it is more freely open to the public than any of these1 everyone of suitable age being permitted to use its collections without the necessity of a ticket or formal permission1 while in scope it is their equal1 however much it may for the time being be inferior to them in certain branches of learning4 ,its aim in the accumulation of books is inclusive and not exclusive1 as ,mr4 ,spofford explains elsewhere in this ,handbook1 in his article on ,the ,function of a ,national ,library4 ,this development amounts almost to a change of front1 in spite of the fact that the original purpose of the ,library as an aid to the legislation and debates of ,congress has been fully preserved4 ,the change has been brought about in many ways1 but principally by the exchange system of the great governmental scientific bureau1 the ,smithsonian ,institution1 and by the operation of the national copyright law4 ,the ,smithsonian ,institution issues each year a large number of scientific publications of the highest interest and importance4 ,it distributes these throughout the world1 receiving in exchange a body of scientific literature which comprehends practically everything of value issued by every scientific society of standing both in this country and abroad4 ,with the exception of a small working library retained by the ,smithsonian ,institution for the immediate use of its officers1 the splendid collection of material which has been gathered during the forty years in which this exchange system has been in operation is deposited in the ,library of ,congress1 forming a scientific library unrivalled in this country4 ,by the operation of the copyright law1 any publisher1 author1 or artist desiring to obtain an exclusive privilege of issuing any publication whatever1 must send two copies of the publication on which a copyright is asked to the ,librarian of ,congress to be deposited in the ,library4 ,by this means1 during the twenty-five years that the law has been in force1 the ,library has been enabled to accumulate approximately the entire current product of the ,american press1 as well as an enormous number of photographs1 engravings1 and other works coming under the head of fine arts4 ,the possession of this material would alone give the ,library a special national character possible to no other library in the country4 ,,history ,,of ,,the ,,library4 ,the ,library of ,congress was founded in the year #ahjj1 about the time that the government was first established in ,washington4 ,five thousand dollars was the first appropriation1 made ,april #bd1 #ahjj1 while ,congress was still sitting in ,philadelphia4 ,some of the ,democratic ,congressmen1 as strict constructionists1 opposed the idea of a governmental library1 but their party leader1 ,thomas ,jefferson1 then ,president1 warmly favored it4 ,he called it1 later in life1 with a sort of prophetic instinct1 the 8,library of the ,united ,states10 and his support of it from the very beginning was so hearty and consistent that he may perhaps be regarded in the broad sense as the real founder of the institution4 ,the ,library was shelved from the first in a portion of the ,capitol building4 ,the first catalogue was issued in ,april1 #ahjb4 ,it appears that there were then1 in accordance with the old-fashioned method of dividing books according to size1 not subject1 #bab folios1 #afd quartos1 #eha octavos1 #g duodecimos1 and #i maps4 ,the ,burning by the ,british ,troops4--,the ,war of #ahab wrecked the slender accumulations of the first dozen years of the ,library's existence4 ,the collection was entirely destroyed by fire by the ,british troops which entered ,washington ,august #bd1 #ahad4 ,the burning is described by a writer in an old magazine4 8,the ,british10 he says1 8first occupied the ,capitol1 only the two wings of which were finished1 and connected by a wooden passageway erected where the ,rotunda now stands4 ,the leading officers entered the ,house of ,representatives1 where ,admiral ,cockburn of the ,royal ,navy 7who was co-operating with ,general ,ross71 seating himself in the ,speaker's chair1 called the assemblage to order4 #8,gentlemen1' shouted he1 #8the question is1 ,shall this harbor of ,yankee democracy be burned8 ,all in favor of burning it will say ,aye6' ,there was a general affirmative response4 ,and when he added1 #8,those opposed will say ,nay1' silence reigned for a moment4 #8,light up6' cried the bold ,briton2 and the order was soon repeated in all parts of the building1 while soldiers and sailors vied with each other in collecting combustible material for their incendiary fires4 ,the books on the shelves of the ,library of ,congress were used as kindling for the north wing2 and the much admired full-length portraits of ,louis ,,xvi4 and his queen1 ,marie ,antoinette1 which had been presented by that unfortunate monarch to ,congress1 were torn from their frames and trampled under foot4 ,patrick ,magruder1 then ,clerk of the ,house of ,representatives and ,librarian of ,congress1 subsequently endeavored to excuse himself from not having even attempted to save the books2 but it was shown that the books and papers in the departments were saved1 and that the ,library might have been removed to a place of safety before the arrival of the ,british40 ,the ,acquisition of ,jefferson's ,library4--,jefferson was then living in retirement at ,monticello4 ,he was in some financial difficulty at the time1 and he offered the ,government the largest portion of his library1 comprising some #f1gjj volumes1 for the price which he had originally paid for them--#bc1gjj4 ,the offer was accepted by ,congress1 although it met with much opposition4 ,among those who objected to the bill were ,daniel ,webster1 then a ,representative from ,new ,hampshire2 while ,cyrus ,king1 a ,federalist member of the ,house from ,massachusetts1 8vainly endeavored to have provision made for the rejection of all books of an atheistical1 irreligious1 and immoral tendency0--a curious example of the many attacks of a similar nature made upon ,jefferson by his political opponents4 ,with ,jefferson's books as a nucleus1 the ,library of ,congress began to make substantial gains4 ,in #ahcb1 a law library was established as a distinct department of the collection4 ,at present it numbers some #he1jjj volumes1 but for the greater convenience of the ,supreme ,court1 which sits in the old ,senate ,chamber of the ,capitol1 it has not been removed from its former quarters in that building4 ,it is always reckoned1 however1 as a portion of the collection of the ,library of ,congress4 ,in #ahej1 the ,library contained about #ee1jjj volumes4 ,december #bd1 #ahea1 a fire broke out in the rooms in which it was shelved1 consuming three-fifths of the whole collection1 or about #ce1jjj volumes4 ,a liberal appropriation for the purchase of books in place of those destroyed was made by ,congress1 and from that time to the present day the growth of the ,library has been unchecked4 ,mr4 ,spofford's ,administration4--,in ,december1 #ahfd1 the present ,librarian1 ,mr4 ,ainsworth ,rand ,spofford1 was appointed by ,president ,lincoln#b4 ,the general management of the ,library has always been in the hands of a joint committee of ,congress2 but the membership of the committee is constantly changing1 so that the ,librarian is practically the real head and director of the institution4 ,during the time that ,mr4 ,spofford has occupied his position1 not only has the growth of the collection been little short of marvellous1 but so many changes of system have been introduced as almost completely to transform the old ,library of half a century ago4 ,the year following ,mr4 ,spofford's appointment1 the previous copyright law was modified so as to require the deposit in the ,library of ,congress of a copy of every publication on which copyright was desired1 the second copy required being deposited elsewhere4 ,the administration of the law was still divided1 however1 in that each ,state had its own office for copyright--some ,states more than one--with the result that the volumes due the ,government were sometimes received and sometimes not4 ,there was no way to call the negligent publisher or author to account1 for no single office contained the complete information necessary4 ,such system as existed was often invalidated by the carelessness of the officials--the ,clerks of the ,united ,states ,district ,courts--in charge in the various ,states4 ,in #ahgj1 therefore1 ,congress still further amended the copyright law by consolidating the entire department in the hands of the ,librarian of ,congress1 as ,registrar of ,copyrights1 with the provision that both copies of the publication copyrighted should go to the ,library4 ,since then1 the law has worked with perfect smoothness1 and with the result of enormous additions to the ,library--numbering1 in the year #ahif1 no less than #ee1ijf publications of all kinds4 ,naturally enough1 therefore1 the ,library has grown in the last quarter of a century to be by far the largest in the country4 ,in #ahif it contained1 roughly estimated1 #gee1jjj volumes of books1 #bej1jjj pamphlets1 #ejj1jjj separate pieces of music1 #be1jjj maps1 and #bef1jjj engravings1 photographs1 lithographs1 etchings1 photogravures1 and pictorial illustrations in general4 ,the ,old ,quarters in the ,capitol4--,for many years the ,library had been kept in the west front of the ,capitol4 ,here there was provision for perhaps #cej1jjj volumes4 ,with the great increase1 the old quarters had long been utterly inadequate4 ,the crypts in the basement of the ,capitol afforded room for storage1 but the hundreds of thousands of books1 pieces of music1 and engravings thus stored were for the most part entirely inaccessible to the student--a serious loss to the usefulness of the ,library1 in spite of the fact that1 so far as the books were concerned1 only duplicates and such volumes as were seldom called for were thus laid away4 ,the copyright business could be kept up to date only by the greatest effort4 ,the rooms regularly devoted to the ,library were so small1 and so over-crowded with books1 that there was almost no opportunity for quiet study1 while the ordinary official routine was carried on with the greatest difficulty and inconvenience4 ,that the ,library should be able to keep its doors open at all1 much more that it should continue promptly to furnish books to applicants1 was a sufficient cause for wonder4 ,the ,agitation for a ,new ,building4--,in his report for #ahgb1 ,mr4 ,spofford first laid before ,congress the necessity of a new building for the accommodation of the ,library4 ,it was fourteen years1 however1 before any decided action was taken in response to this appeal1 annually repeated1 and twenty-five years before the present building was finally ready for occupancy4 ,during these fourteen years1 to quote ,mr4 ,spofford1 8various schemes for continuing the ,library within the ,capitol were brought forward4 ,one was to extend the west front of the edifice one hundred feet1 to hold the books2 another1 to project the eastern front two hundred and fifty feet1 thus making a conglomerate building out of what is now a purely classic edifice2 a third1 and more preposterous scheme1 was to accommodate the ,library growth within the great inner concave of the dome1 which was to be literally honeycombed with books from the floor of the ,rotunda to the apex3 a plan which would have given space for only twelve years' growth of the ,library1 besides increasing incalculably all the difficulties of its administration4 ,every plan for enlarging the ,capitol would have provided for less than thirty years' increase1 after which ,congress would be confronted with the same problem again1 and forced to erect a new building after all the cost 7estimated at four millions of dollars7 of such enlargement4 ,at length a commission of architects reported against disturbing the symmetry of the ,capitol1 and that illusive spectre was laid to rest4 ,then ensued difficulties and dissensions about a site1 about plans1 about architects1 and about cost4 ,some wanted to save money by planting a building in the ,botanic ,garden1 or on the ,mall1 sites which have been twice under water in the last twenty years1 from the overflow of the ,potomac ,river4 ,some wanted a plain storehouse of brick1 after the model of the ,pension ,building1 but it was wisely concluded that one such architectural monstrosity was enough for our ,government4 8,at length all differences between ,senate and ,house were harmonized2 the act for a separate building received over two-thirds majority in #ahhf2 a site of ten acres was purchased on a plateau near the ,capitol for #ehe1jjj2 work was begun on a large scale1 but cut down in #ahhh to smaller dimensions1 with a limitation of ultimate cost of #d1jjj1jjj2 restored in #ahhi to the original size1 and the limitation of cost was raised to #e1ejj1jjj1 in addition to sums heretofore appropriated1 thus providing for an ample and thoroughly equipped edifice1 with ultimate accommodations for four and one-half millions of volumes40 ,illustration3 ,,the ,,entrance ,,pavilion4 ,,the ,,new ,,building4 ,the first act of ,congress providing for the construction of the building was approved ,april #ae1 #ahhf4 ,its terms adopted the plan submitted by ,mr4 ,john ,l4 ,smithmeyer2 created a commission consisting of the ,secretary of the ,interior1 the ,architect of the ,capitol ,extension1 and the ,librarian of ,congress1 to have charge of and carry forward the work2 and selected the present site4 ,the year #ahhf was occupied in appraising and taking possession of the ground2 the next year in clearing the site1 making the principal excavation for the foundations1 and laying the drainage system2 and the year #ahhh in laying one half of the concrete foundation footings on the plan adopted by the act above mentioned4 ,on ,october #b1 #ahhh1 a new act of ,congress was approved1 repealing so much of the act of ,april #ae1 #ahhf1 as provided for a commission and the construction of the building according to the plan therein specified4 ,this act placed the work under the sole control and management of the ,chief of ,engineers of the ,army1 ,brigadier-,general ,thomas ,lincoln ,casey1 requiring him to report direct to ,congress annually and to prepare general plans for the entire construction of the building1 subject to the approval of the ,secretary of ,war and the ,secretary of the ,interior1 and within a total cost of #d1jjj1jjj1 exclusive of appropriations previously made4 ,the preparation of the new design was at once entered upon1 using the previous one of ,mr4 ,smithmeyer as a basis by reducing its dimensions and otherwise considerably modifying it to bring the cost within the required limit4 ,the new plans were completed and submitted for approval to the ,secretaries on ,november #bc1 #ahhh1 but no action was taken by them4 ,at the same time this design1 together with another modification of the original1 retaining the full dimensions of the building1 but modifying its ground-plan and other architectural features1 within and without1 in many important particulars1 was placed before ,congress4 ,the cost of the building by the latter design was estimated at #f1jjc1adj1 and the time for its construction at eight years4 ,toward the close of the session ,congress again took up the subject of plans in connection with the sundry civil appropriation bill and adopted the larger modified design by the act approved ,march #b1 #ahhi1 directing that the building be erected in accordance therewith1 and at a total cost not to exceed #e1ejj1jjj1 exclusive of appropriations previously made4 ,the amount of the previous appropriations was #a1jjj1jjj1 of which a balance of #gde1efg4id remained after the expenses of operations on the old plan had all been defrayed4 ,thus the total limit of cost of the new plan was fixed by law at #f1bde1efg4id4 ,it may be added that none of the plans1 drawings1 or designs made prior to ,general ,casey's taking charge of the work were used1 all having been new and different4 ,in the meantime many detailed plans of stonework for the exterior walls1 foundations1 etc41 had been prepared1 and the working up of the details of design and construction in general had been actively going on in the drafting room1 so that all was in readiness for the prompt and vigorous commencement of operations1 which took place on the ground as soon as ,congress had passed the act of ,march #b1 #ahhi4 ,in the execution of the work ,general ,casey had the entire responsible charge under ,congress from ,october #b1 #ahhh1 until his death1 on ,march #be1 #ahif1 and he also disbursed the funds during that period4 ,he held general supervision1 gave general direction to all principal proceedings1 and maintained an intimate knowledge of the work at all times1 while performing the duties of his more absorbing and important office of ,chief of ,engineers of the ,army at the ,war ,department1 to which he succeeded a few months before he was placed in charge of the ,library building by ,congress4 ,general ,casey had been connected with some of the most important pieces of construction ever undertaken by the ,government1 including the erection of the ,state1 ,war and ,navy ,building and the completion of the ,washington ,monument4 ,the last was an especially difficult task1 as it had been necessary to strengthen the old foundations of the shaft before it was possible to proceed with the work4 ,in this delicate and hazardous undertaking1 as well as in the erection of the ,state1 ,war and ,navy ,building1 and other works1 ,general ,casey had been assisted by ,mr4 ,bernard ,r4 ,green1 ,c4 ,e41 whom he now appointed to be superintendent and engineer of the construction of the new ,library building1 and put in full local charge of the entire work4 ,to aid in designing the artistic features of the architecture--that is1 exclusive of arrangement1 construction1 utility1 apparatus1 and the management of the business--,mr4 ,paul ,j4 ,pelz was employed under the immediate direction of ,general ,casey and ,mr4 ,green4 ,mr4 ,pelz had been in partnership with ,mr4 ,smithmeyer in the production of the original general plan and design4 ,in this way the design of the building1 as it now appears in the main in the exterior and court walls1 the dome1 the approaches to the west front1 was evolved1 ,mr4 ,pelz thereby fixing the plan and main proportions of the building4 ,in the spring of #ahib ,mr4 ,pelz's connection with the work ceased4 ,at that time the building had reached but little more than one-half its height4 ,in the fall of that year ,mr4 ,edward ,pearce ,casey1 of ,new ,york ,city1 was employed as architect and also as adviser and supervisor in matters of art4 ,his designs principally include all of the most important interior architecture and enrichment in relief and color4 ,mr4 ,casey continued as architect until the completion of the building4 ,on the death of ,general ,casey1 in ,march1 #ahif1 he was immediately succeeded by ,mr4 ,green1 under whose charge the building was completed1 in ,february1 #ahig1 within the limit of time set by ,congress in #ahhh1 and about #adj1jjj below the limit of cost--or1 in round numbers1 for #f1cfj1jjj4 ,general ,decoration3 ,mr4 ,garnsey and ,mr4 ,weinert4--,in addition to those whose work has been described in the preceding paragraphs1 two other men remain to be mentioned in giving any general account of the construction of the new building3 ,mr4 ,elmer ,e4 ,garnsey1 who was in charge1 under the general supervision of the architect1 of the conventional color decoration of the interior1 and ,mr4 ,albert ,weinert1 who1 in the same way1 was in charge of the stucco ornamentation4 ,mr4 ,weinert was put at the head of a staff of modellers1 who executed on the spot the great variety of relief arabesque and minor sculpture required in the comprehensive scheme of stucco ornament adopted by ,mr4 ,casey as a chief factor in the decoration of the main halls and galleries throughout the building4 ,for the general color decoration of the building--which extends into every room in the building1 and includes the many elaborate and beautiful arabesques which decorate the vaulting of the main halls--,mr4 ,elmer ,e4 ,garnsey1 who had been concerned in similar work at the ,world's ,fair1 the ,boston ,public ,library1 and the ,carnegie ,library in ,pittsburgh1 was engaged4 ,a large studio was fitted up in the building and a staff of designers and fresco-painters was organized4 ,mr4 ,edward ,j4 ,holslag was appointed foreman2 ,mr4 ,william ,a4 ,mackay and ,mr4 ,frederick ,c4 ,martin were employed to carry out on the walls the finer portions of the designs2 and ,mr4 ,w4 ,mills ,thompson and ,mr4 ,charles ,caffin to make the finished cartoons from the original sketches for the use of the fresco-painters4 ,the latter numbered about twenty-five1 and the larger portion of them were kept constantly busy for nearly a year and a half4 ,the ,general ,character of the ,building4--,of the splendid and monumental building itself1 it may be stated1 before entering upon a detailed description--and stated1 too1 with hardly any fear of contradiction--that it is the most perfectly adapted for the convenient use and storage of books of any large library in the world4 ,it is the largest1 the costliest1 and the safest4 ,it is absolutely fire-proof1 not through any ingenious arrangement or contrivance1 but by the very quality of the materials of which it is built--granite1 brick1 marble1 iron1 steel1 and terra-cotta4 ,wood floors are used in many of the rooms1 but they are merely a carpet of boards laid upon terra-cotta or brick vaults4 ,it would be impossible for the ,library to burn down2 a fire would nowhere have an opportunity to spread4 ,the great size of the building is perhaps best appreciated from a statement of the amount of some of the materials used in it3 #dji1jjj cubic feet of granite1 #ejj1jjj enamelled brick1 #bb1jjj1jjj red brick1 #c1hjj tons of steel and iron1 and #gc1jjj barrels of cement4 ,the draughting office turned out1 during the eight years that the ,library was under construction1 #a1fjj plans and drawings4 ,exclusive of the cellar1 the total floor-space is #cbf1aie square feet1 or nearly eight acres2 and the whole number of windows is about #b1afe4 ,as a matter of 8library economy10 the arrangement of the building is of great interest4 ,the problems to be solved were mostly new ones4 ,in a paper on the ,library1 read before the ,american ,library ,association1 ,mr4 ,green said3 8,its design was preceded by few or no good examples of library architecture1 and was therefore the outcome of theory and deduction rather than the application of established principles40 ,this task was not undertaken in any dogmatic way1 however2 8the effort was10 as ,mr4 ,green went on to say1 8to plan on general rather than particular principles1 and afford the largest latitude for expansion and re-arrangement in the use of the spaces40 ,so far1 however1 as general interest is concerned1 it is the magnificent series of mural and sculptural decorations with which the architecture is enriched that has contributed most to give the ,library its notable position among ,american public buildings4 ,although a similarly comprehensive scheme of decoration was carried out at the ,world's ,fair in ,chicago1 and afterwards in the new ,public ,library in ,boston1 the ,government itself had never before called upon a representative number of ,american painters and sculptors to help decorate1 broadly and thoroughly1 one of its great public monuments4 ,commissions were here given to nearly fifty sculptors and painters--all ,americans--and their work1 as shown throughout the building1 forms the most interesting record possible of the scope and capabilities of ,american art4 ,it may be noted here1 also1 that1 both inside and out1 the ,library is1 in the main1 in the style of the ,italian ,renaissance--derived1 that is to say1 from the architecture of the buildings erected in ,italy during the period 7roughly speaking1 the fifteenth century or earlier7 when the elements of classic art were revived and re-combined in a ,renascence1 or ,new ,birth1 of the long-neglected models of ,greece and ,rome4 ,,the ,,exterior ,,of ,,the ,,building4 ,the site of the ,library originally comprised two city blocks1 containing seventy houses1 with an extent1 as has been said1 of ten acres4 ,it is bounded by ,first1 ,east ,capitol1 ,second1 and ,b ,streets1 and forms a partial continuation of the band of parks which stretches east from the ,washington ,monument1 including the ,agricultural ,grounds1 the ,smithsonian ,grounds1 ,armory ,square1 the ,public ,gardens1 the ,botanic ,garden1 and the ,capitol ,grounds4 ,the general effect of the grounds enclosing the ,library is that of an extension of the ,capitol ,grounds1 the street separating the two1 for example1 being treated1 so far as possible1 as a driveway through a park1 and both being enclosed by low or 8dwarf0 walls of the same height and design4 ,illustration3 ,,plan ,,of ,,first ,,story ,,library ,,of ,,congress ,the ,library faces exactly west4 ,it is four hundred and seventy feet long 7from north to south71 and three hundred and forty deep 7from west to east74 ,it occupies1 exclusive of approaches1 three and three-quarters acres4 ,the general disposition of the building may best be seen by a glance at the ground plan given on the present page4 ,the exterior walls are thus seen to belong to a great rectangle1 which encloses a cross dividing the open space within into four courts1 each one hundred and fifty feet long by seventy-five or one hundred feet wide4 ,at the intersection of the arms of the cross is an octagon1 serving as the main reading room1 and conspicuous by reason of its dome and lantern1 which1 rising well above the walls of the ,rectangle1 are the first feature of the building to attract the attention of the visitor4 ,the lantern is surmounted by a great blazing torch with a gilded flame--the emblematic ,torch of ,learning--which marks the centre and apex of the building1 a hundred and ninety-five feet above the ground4 ,the dome and the domed roof of the lantern are sheathed with copper1 over which1 with the exception of the ribs of the dome1 left dark to indicate their structural importance1 is laid a coating of gold leaf1 twenty-three carats fine4 ,the surface covered is so large that one's first thought is apt to be of the expense4 ,as a matter of fact1 however1 the total cost--including the gilding for the flame of the torch--was less than #c1hjj4 ,since it will require to be renewed much less frequently its use was considerably more economical than painting4 ,the ,faades4--,the exterior walls of the ,library are constructed wholly of granite1 quarried in ,concord1 ,new ,hampshire4 ,the stone is a close-grained variety1 so even and light in tone that when the sun is shining upon it the effect is almost as brilliant as if a white marble had been used4 ,the massive buttresses which support the ,octagon at each of its eight corners1 and so much of the ,octagon wall as is visible from the outside1 are also granite1 but of a different quality1 slightly darker in hue1 and coming from quarries in ,maryland4 ,illustration3 ,,nymph ,,and ,,sea-,,horse1 ,,from ,,the ,,fountain4 ,the ,library is in three stories3 the basement story of fourteen feet2 the first story1 or main library floor1 of twenty-one feet2 and the second story of twenty-nine feet-making a height of sixty-four feet for the three stories at the lowest point4 ,adding to this the base at ground level1 and the simply designed balustrade which surmounts the whole1 the total height is seventy-two feet above the ground4 ,beneath the entire structure is a cellar1 below the level of the ground outside1 but within opening upon the interior courts4 ,the granite of which the walls are constructed is rough1 or 8rock-faced10 in the basement story2 much more finely dressed in the story above2 and in the second story brought down to a perfectly smooth surface4 ,the windows in the basement are square-headed1 as also on the library floor1 except along the west front1 where they are arched1 with ornamental keystones4 ,throughout the second story they are again square-headed1 but with casings in relief1 surmounted by pediments alternately rounded and triangular1 and1 along the west front1 railed in at the bottom by false balustrades4 ,to prevent the monotony incident to a long1 unrelieved facade1 the walls are projected at each of the four corners and in the centre of the east and west sides1 into pavilions1 which1 in addition to being slightly higher than the rest of the rectangle--thus allowing space for a low attic-story--are treated with greater richness and elaboration of ornamental detail4 ,the corners are set with vermiculated granite blocks--blocks whose surface is worked into 8vermiculations0 or 8wormings40 ,the keystones of the window-arches in the first story are sculptured with a series of heads illustrating the chief ethnological types of mankind4 ,along the second-story front runs a portico supported upon a row of twin columns1 each a single piece of granite1 with finely carved ,corinthian capitals4 ,the pedestals which support the columns are connected by granite balustrades1 so that the portico forms a single long balcony1 with an entrance through the windows which look out upon it4 ,,the ,,entrance ,,pavilion4 ,illustration3 ,,neptune1 ,,from ,,the ,,fountain4 ,of all these pavilions the ,west1 or ,main ,entrance1 ,pavilion1 is by far the largest as well as by far the most ornate4 ,it is one hundred and forty feet long1 or almost a third the total length of the building1 and about seven feet higher than either of the other five pavilions4 ,at either end it is itself projected1 or pavilioned4 ,the ,main ,entrance is through a porch of three arches1 on the main library floor4 ,the approaches are extensive and imposing4 ,a flight of steps1 constructed of granite from ,troy1 ,new ,hampshire1 ascends from either side to a central landing1 laid with flags of red ,missouri granite4 ,thence the stairway leads in a single flight to the ,entrance ,porch1 with space underneath for a porte cochre in front of the doors admitting to the basement4 ,the central landing just spoken of is protected by a high retaining wall which forms the background for a splendid fountain by ,mr4 ,roland ,hinton ,perry1 ornamented with a profusion of allegorical figures in bronze--the chief figure representing ,neptune enthroned in front of a grotto of the sea4 ,the posts of the granite railing of the steps support elaborate bronze candelabra1 bearing clusters of electric lamps for illumination at night4 ,the spandrels of the ,entrance ,porch--the approximately triangular spaces flanking the three arches--are ornamented with female figures sculptured in high relief in granite1 representing ,literature1 ,science1 and ,art4 ,they were modelled by ,mr4 ,bela ,l4 ,pratt4 ,above the main windows of the library floor is a series of smaller1 circular windows1 which serve as a background for a series of granite busts 7the pedestals of which rest in the pediments below7 of men eminent in literature4 ,there are nine in all1 seven along the front1 and one at each end of the pavilion4 ,they are flanked by boldly sculptured figures of children1 reclining upon the sloping pediments1 or1 alternately1 by massive garlands of fruits4 ,the keystones of the circular windows each support the standing figure of a winged cherub1 or genius1 all sculptured from a single design1 and introduced as the accentuating feature of a frieze of foliated ornament extending along the three sides of the pavilion4 ,like the garlands and figures on the pediments1 they were modelled by ,mr4 ,william ,boyd4 ,at either end of the attic story ,mr4 ,boyd's hand appears again in the sculptural embellishment of the little porch--as one may perhaps call it--which looks out upon the balcony formed by the granite railing4 ,the rounded pediment contains a group in granite consisting of the ,american eagle flanked by two seated children4 ,each pediment is supported on the shoulders of two conventional ,atlases--8,atlantides0 is the technical name--figures of gigantic strength1 so called because in the ,greek and ,roman mythology ,atlas was fabled as a giant supporting the vault of heaven by his unaided strength4 ,illustration3 ,,russian ,,slav4 ,,blonde ,,european4 ,,brunette ,,european4 ,a more particular description is required of the fountain1 the ethnological heads1 the series of busts in the portico of the ,entrance ,pavilion1 and the spandrel figures ornamenting the ,entrance ,porch4 ,mr4 ,hinton ,perry's ,fountain4--,of ,mr4 ,perry's fountain1 it may be said at once that it is the most lavishly ornamental of any in the country4 ,it occupies a semicircular basin fifty feet broad1 containing a dozen bronze figures disposed to represent a scene--so one may take it--in the court of ,neptune1 the classic god of the sea4 ,the granite wall of the terrace against which the fountain is placed contains three deep niches1 in the spandrels of which are four dolphins sculptured in relief from models by ,mr4 ,albert ,weinert4 ,the niches themselves are treated with an evident suggestion of a grotto worn by the sea1 with a hint1 also1 at the formation of stalactites by the constant dripping of water4 ,in front of the central niche ,neptune is seated in a majestic attitude on a bank of rocks4 ,he is represented as an old man with a long flowing beard1 but the lines of his naked figure indicate the energy and great muscular strength befitting the ,ruler of the ,deep4 ,the figure is of colossal size2 it would be1 that is1 if standing1 about twelve feet in height4 ,on either side of the bank lolls a figure of ,triton1 one of the minor sea-gods1 blowing a conch shell to summon the water-deities to the throne of their sovereign4 ,in front of each of the niches at the side is a sea-nymph triumphantly bestriding an infuriated sea-horse1 his ears laid back and his fish's tail writhing with anger on account of a jet of water constantly thrown against his head4 ,the basin is crossed and re-crossed by similar jets1 which furnish the whole flow of water1 and proceed from the mouths of sea-monsters in various places throughout the fountain4 ,there are seven of them in all4 ,the first is a serpent just showing itself above the water in front of the bank on which ,neptune is seated4 ,higher up1 to the right and left1 two gigantic frogs lurk in crevices of the rocks2 and floating along the outer edge of the basin are four huge ,florida turtles1 their heads raised a little above the water and their long fins making as if swimming4 ,illustration3 ,,modern ,,greek4 ,,persian4 ,,circassian4 ,illustration3 ,,hindoo4 ,,hungarian4 ,,semite4 ,the ,ethnological ,heads4--,the ethnological heads ornamenting the keystones of the first-story pavilion windows offer as interesting material for study as any of the decorations of the ,library4 ,the series is unique in that it is the first instance of a comprehensive attempt to make ethnological science contribute to the architectural decoration of an important public building4 ,it was at first proposed to employ a more conventional kind of ornament1 such as the familiar ,gorgons' heads so often found in connection with ,renaissance architecture4 ,the present idea was carried out with the assistance of ,professor ,otis ,t4 ,mason1 the ,curator of the ,department of ,ethnology in the ,national ,museum for the last twelve years4 ,the heads1 thirty-three in number1 are about a foot and a half in height1 and were modelled1 some by ,mr4 ,boyd and others by ,mr4 ,henry ,j4 ,ellicott1 after data accumulated by ,professor ,mason as the result of some six months' special study of the ethnological collections in the possession of the ,national ,museum--which contains1 indeed1 practically all the material 7books1 photographs1 carefully verified measurements7 necessary for such an undertaking4 ,the large collection of authentic1 life-size models1 chiefly of savage and barbarous peoples1 which the visitor may see in its exhibition halls1 is the most extensive in the country1 and many of the heads on the ,library keystones are taken directly from these4 ,illustration3 ,,arab4 ,,turk4 ,,modern ,,egyptian4 ,taking into consideration the difficulty of obtaining the more delicate differentiation of the features in a medium so unsatisfactory1 from its coarseness of texture1 as granite1 the result of ,professor ,mason's work is one of the most scientifically accurate series of racial models ever made4 ,still another difficulty1 it may be added1 lay in the fact that each head had to be made to fit the keystone4 ,besides the necessity of uniform size1 the architect demanded also1 as far as possible1 a generally uniform shape1 which it was often very hard to give and still preserve the correct proportions of the racial type4 ,the face had to be more or less in line with the block it ornamented1 and1 especially1 the top of the head had to follow1 at least roughly1 a certain specified curve4 ,this last point was met either by using or not using a head-dress1 whichever best met the difficulty4 ,in one case the problem was a little puzzling--that of the ,plains ,indian1 with his upright circlet of eagle's feathers1 which were bound to exceed the line1 if accurately copied4 ,the difficulty was frankly met by laying the feathers down nearly flat upon the head4 ,illustration3 ,,abyssinian4 ,,malay4 ,,polynesian4 ,in preparing the models1 accuracy was the chief thing considered4 ,any attempt at dramatic or picturesque effect1 except what was natural to the type portrayed1 was felt to be out of place4 ,each head was subjected to the strict test of measurement--such as the ratio of breadth to length and height1 and the distance between the eyes and between the cheek bones--this being the most valuable criterion of racial differences4 ,all portraiture was avoided1 both as being somewhat invidious and unscientifically personal1 and1 more especially1 because no one man can ever exemplify all the average physical characteristics of his race4 ,on the other hand1 the heads were never permitted to become merely ideal4 ,it will be noticed that all are those of men in the prime of life4 ,illustration3 ,,australian4 ,,negrito4 ,,zulu4 ,the list of the races1 beginning at the north end of the ,entrance ,pavilion1 and thence continuing south and round the building to the ,northwest ,pavilion1 is as follows1 each head being numbered for convenience in following the order in which they occur3 #a1 ,russian ,slav2 #b1 ,blonde ,european2 #c1 ,brunette ,european2 #d1 ,modern ,greek2 #e1 ,persian 7,iranian72 #f1 ,circassian2 #g1 ,hindoo2 #h1 ,hungarian 7,magyar72 #i1 ,semite1 or ,jew2 #aj1 ,arab 7,bedouin72 #aa1 ,turk2 #ab1 ,modern ,egyptian 7,hamite72 #ac1 ,abyssinian2 #ad1 ,malay2 #ae1 ,polynesian2 #af1 ,australian2 #ag1 ,negrito 7from ,indian ,archipelago72 #ah1 ,zulu 7,bantu72 #ai1 ,papuan 7,new ,guinea72 #bj1 ,soudan ,negro2 #ba1 ,akka 7,dwarf ,african ,negro72 #bb1 ,fuegian2 #bc1 ,botocudo 7from ,south ,america72 #bd1 ,pueblo ,indian 7as the ,zuis of ,new ,mexico72 #be1 ,esquimaux2 #bf1 ,plains ,indian 7,sioux1 ,cheyenne1 ,comanche72 #bg1 ,samoyede 7,finnish inhabitant of ,northern ,russia72 #bh1 ,corean2 #bi1 ,japanese2 #cj1 ,aino 7from ,northern ,japan72 #ca1 ,burmese2 #cb1 ,thibetan2 #cc1 ,chinese4 ,illustration3 ,,papuan4 ,,soudan ,,negro4 ,,akka4 ,it will be seen that the various races are grouped so far as possible according to kinship4 ,there is not1 however1 space--and this is hardly the place--in which to explain the many points which might be brought up in connection with this interesting series of heads4 ,for such information the reader is referred to any good text-book on ethnology4#c ,one or two special details1 however1 may properly be mentioned4 ,the selection of the ,pueblo ,indian1 for example1 was a second choice4 ,professor ,mason would have preferred one of the ancient ,peruvian ,incas1 but no satisfactory portrait could be found to work on4 ,the ,thibetan is a ,buddhist priest1 as indicated by his elaborate turban4 ,the ,chinese belongs to the learned1 or ,mandarin class4 ,the ,russian with his fur cap is the typical ,slavic peasant4 ,the ,blonde ,european is of the educated ,german type1 dolichocephalic1 or long-headed2 the ,brunette ,european is the ,roman type1 brachycephalic1 or broad-headed4 ,the architect has introduced a ,greek fret on the turban of the ,greek to symbolize the importance of ancient ,greek art4 ,the ,egyptian is the typical ,cairo camel-driver4 ,the ,corean wears the dress and hat of the courtier1 and the ,turk also is depicted as a member of the upper classes4 ,the ,hungarian wears the astrachan or lambswool cap of the peasant4 ,many of the heads of savage or barbarous races are shown with their peculiar ornaments--the ,malay with his earrings1 the ,papuan with his nose-plug1 the ,botocudo with studs of wood in his ears and lower lip1 and the ,esquimaux with the labret or lip-plug of walrus ivory4 ,the face of the ,polynesian1 finally1 is delicately incised with lines1 copied from a specimen of ,maori 7,new ,zealand7 tattooing4 ,illustration3 ,,fuegian4 ,,botocudo4 ,,pueblo ,,indian4 ,illustration3 ,,esquimaux4 ,,plains ,,indian4 ,,samoyede4 ,the ,portico ,busts4--,the list of the men commemorated by the nine busts in the portico is as follows3 ,demosthenes1 ,emerson1 ,irving1 ,goethe1 ,franklin1 ,macaulay1 ,hawthorne1 ,scott1 and ,dante4 ,the ,demosthenes1 ,scott1 and ,dante were modelled by ,mr4 ,herbert ,adams2 the ,emerson1 ,irving1 and ,hawthorne by ,mr4 ,j4 ,scott ,hartley2 and the ,goethe1 ,franklin1 and ,macaulay by ,mr4 ,f4 ,wellington ,ruckstuhl4 ,the reader will see that so far as possible with an odd number1 the work of each sculptor is1 so to say1 in balance--,mr4 ,ruckstuhl's in the centre1 flanked by ,mr4 ,hartley's1 and ,mr4 ,adams's at either end--thus avoiding any possible confusion of style1 and giving the artist all the advantage which comes from a symmetrical disposition of his productions4 ,there is1 as a matter of fact1 very little diversity in the present series4 ,each bust is of uniform height--about three feet1 not reckoning the pedestal--with a uniform background4 ,the statue of ,franklin1 coming in the centre1 has1 intentionally1 a certain effect of pre-eminence4 ,the sculptor conceived him 8as one of the greatest men of this country1 and as a writer and philosopher the patriarch1 and therefore aimed to make him dominate the rest40 ,a word should be said regarding the background of the busts--the glass enclosed in the framing of the circular windows4 ,the effect1 as always of a window1 is dark1 as granite would not have been1 thus throwing the busts1 which are of the same material as the walls1 into sharp1 strong relief4 ,illustration3 ,,corean4 ,,japanese4 ,,aino4 ,illustration3 ,,burmese4 ,,thibetan4 ,,chinese4 ,mr4 ,pratt's ,spandrel ,figures4--,the beautiful spandrel figures of the ,entrance ,porch modelled by ,mr4 ,bela ,l4 ,pratt are six in number4#d ,all are about life-size1 and are shown leaning gracefully against the curve of the arches4 ,after what has been said of the intractability of granite as a medium for any but the bolder sorts of sculpture1 it is not out of place to call attention to the exceptional delicacy and refinement with which these figures have been chiselled4 ,they represent1 as has been said1 ,literature 7the left hand arch71 ,science 7in the centre71 and ,art 7to the right74 ,in the background of each spandrel the sculptor has introduced a branch of walnut1 oak1 laurel1 or maple leaves4 ,of the figures themselves1 the two to the left stand respectively for the contemplative and the productive sides of ,literature--reflection and composition4 ,the one is writing upon a tablet1 although for a moment she turns aside as if in search of the fitting phrase2 while the other1 at the right1 with a hood over her head and a book held idly in her hand1 gazes out dreamily into the distance4 ,of the figures of ,science1 the first holds the torch of knowledge1 and the second1 with the celestial globe encircled by the signs of the zodiac in her arm1 looks upward1 as if to observe the courses of the stars4 ,here1 also1 it will be seen that something of the same distinction as in the first arch is drawn between the abstract and the practical4 ,in the third group1 the figure to the left represents ,sculpture1 and that to the right1 ,painting4 ,the latter busies herself with the palette and brush4 ,sculpture1 with a mallet in her hand1 is studying a block of marble in which she has already blocked out the head and features of a bust--that of the poet ,dante4 ,,the ,,main ,,entrance4 ,the three deep arches of the ,entrance ,porch terminate with three massive bronze doors1 covered with a design of rich sculptural ornament in relief4 ,each is fourteen feet high to the top of the arch1 with an extreme width1 including the framing1 of seven and a half feet1 and a total weight of about three and a half tons4 ,the subject of the decoration is1 in the central door1 ,the ,art of ,printing1 modelled by ,mr4 ,frederick ,macmonnies2 in the door to the left1 ,tradition1 by the late ,olin ,l4 ,warner2 and to the right1 ,writing1 begun by ,mr4 ,warner1 but left unfinished at his death 7in ,august1 #ahif71 and completed by ,mr4 ,herbert ,adams4 ,the three thus indicate in a regular series--the sequence of which1 of course1 is ,tradition1 ,writing1 and ,printing--the successive and gradually more perfect ways in which mankind has preserved its religion1 history1 literature1 and science4 ,each of the doors is double1 with a tympanum at the top closing the arch4 ,the various portions of the design are comprised in a high and rather narrow panel in each leaf1 with small panels above and below1 and finally the large semicircular panel occupying the tympanum above4 ,mr4 ,warner's ,bronze ,doors4--,mr4 ,warner's first door1 ,tradition1 illustrates the method by which all knowledge was originally handed down from generation to generation4 ,the background of the panel in the larger tympanum is a mountainous and cloudy landscape1 conveying admirably1 says one critic#e1 8a sense of prehistoric vastness and solitude40 ,in the centre is a woman1 the embodiment of the subject1 seated on a throne4 ,against her knee leans a little boy1 whom she is instructing in the deeds and worship of his fathers4 ,the visitor will not fail to notice the unusual expressiveness of the group--the boy with eager1 attentive face1 and the woman holding his hand in one of hers1 and raising the other in a gesture of quiet but noble emphasis4 ,seated on the ground1 two on either side1 and listening intently to her words1 are an ,american ,indian1 holding a couple of arrows in his hand2 a ,norseman1 with his winged steel cap2 a prehistoric man1 with a stone axe lying by his side2 and a shepherd with his crook1 standing for the nomadic1 pastoral races4 ,the four are typical representatives of the primitive peoples whose entire lore was kept alive by oral tradition4 ,the face of the ,indian is understood to be a portrait of ,chief ,joseph1 of the ,nez ,percs tribe1 from a sketch made from life by ,mr4 ,warner in #ahhi4 ,of the panels below1 that to the left contains the figure of a woman holding a lyre1 and the other the figure of a warrior's widow clasping the helmet and sword of her dead husband to her breast4 ,the first represents ,imagination1 and the second ,memory1 the former being the chief quality which distinguishes the nobler sorts of traditional literature1 as exemplified in the true epics1 springing from the folk-tales of the people1 and the latter standing for that heroic past with which it so constantly deals4 ,illustration3 ,,bronze ,,door1 ,,main ,,entrance4 ,,by ,,olin ,l4 ,,warner4 ,the same general arrangement of figures is followed in the second door--the one representing ,writing--as in the first4 ,in the tympanum of the door1 a female figure is seated in the centre1 holding a pen in her hand and with a scroll spread open in her lap4 ,beside her stand two little children1 whom she is teaching to read or write4 ,to the right and left are four figures representing the peoples who have had the most influence on the world through their written memorials and literature--the ,egyptian and the ,jew to the right1 and the ,christian and ,greek to the left4 ,the ,jew and the ,christian are represented as kneeling1 in allusion to the religious influence which they have exerted4 ,the former holds a staff in his hand1 and may be taken as one of the ancient ,jewish patriarchs2 the latter bears a cross4 ,the ,greek has a lyre1 for ,poetry1 and the ,egyptian holds a stylus in his hand4 ,the standing figures in the door proper are of women1 and represent ,truth 7on the right7 and ,research 7on the left74 ,research holds the torch of knowledge or learning1 and ,truth a mirror and a serpent1 the two signifying that in all literature1 wisdom 7of which the serpent is the emblem7 and careful observation 7typified by the mirror1 with its accurate reflection of external objects7 must be joined in order to produce a consistent and truthful impression upon the reader4 ,the smaller panels below contain a design of conventional ornament with cherubs or geniuses supporting a cartouche1 on which the mirror or serpent of the larger panels is repeated4 ,mr4 ,macmonnies's ,bronze ,door4--,in ,mr4 ,macmonnies's design the tympanum is occupied by a composition which he has entitled1 ,minerva ,diffusing the ,products of ,typographical ,art4 ,the ,goddess of ,learning and ,wisdom--a fit guardian to preside at the main portal of a great library--is seated in the centre upon a low bench4 ,on either side is a winged genius1 the messengers of the goddess1 each carrying a load of ponderous folios which she is dispatching as her gift to mankind4 ,to the right is her owl1 perched solemnly on the bench on which she is sitting4 ,she wears the conventional helmet and breastplate--the latter the gis1 with its ,medusa's ,head--of ancient art1 but in her wide1 full skirt1 with its leaf-figure pattern1 the artist has adopted a more modern motive4 ,the ,latin title of ,mr4 ,macmonnies's subject1 ,ars ,typographica1 and various symbolical ornaments are introduced in the background4 ,to the left and right1 enclosed in a laurel wreath1 are a ,pegasus and a stork4 ,the former stands1 of course1 for the poetic inspiration which gives value to literature4 ,the stork1 commonly symbolizing filial piety1 may be taken here1 if one chooses1 as typifying the faithful care of the inventors of printing and their disciples in multiplying the product of that inspiration4 ,to the left1 also1 are an hour-glass1 an inking-ball1 and a printer's stick2 and on the other side of the panel1 an ancient printing-press4 ,illustration3 ,,tradition--,,tympanum ,,of ,,bronze ,,door4--,,by ,,olin ,l4 ,,warner4 ,each of the small panels in the upper portion of the doors below is in the shape of a tympanum1 and is occupied by a conventionally decorative design composed of a wreath with floating ribbons1 enclosing a cartouche on which are inscribed the words 8,honor to ,gutenberg0--the ,inventor of ,printing4 ,each of the upright panels contains the figure of a young and beautiful woman1 clad in a robe of the same design as that worn by ,minerva1 and carrying two tall flaming torches4 ,the figure in the left-hand leaf represents ,the ,humanities1 the soft contours of her face expressing the gentle and generous liberalities of learning4 ,her companion stands for ,intellect1 and the lines of her face are of a bolder and severer character4 ,illustration3 7decorative archway7 ,,main ,,entrance ,,hall4 ,entering by either of these three bronze doors1 one passes immediately through a deep arch into the ,main ,entrance ,hall4 ,it is constructed of gleaming white ,italian marble1 and occupies very nearly the whole of the ,entrance ,pavilion4 ,by reason of a partial division of the hall into stories and open corridors1 and on account of the splendor and variety of the decoration everywhere so liberally applied1 the eye is attracted to a number of points of interest at once4 ,the arrangement1 however1 is really simple and well defined1 as may be seen by looking at the plan on page #i4 ,with the exception of a portion of the attic story and of two or three small rooms partitioned off in the southeast and northeast corners of the first floor1 the entire pavilion serves as a single lofty and imposing hall4 ,in the centre is a great well1 the height of the pavilion--seventy-five feet--enclosed in an arcade of two stories1 the arches of the first supported on heavy piers and of the second on paired columns4 ,the centre of the well is left clear2 on either side1 north and south1 is a massive marble staircase1 richly ornamented with sculpture4 ,on the east side of the pavilion a broad passageway1 treated as a part of the general architectural scheme of the ,entrance ,hall--though really an arm of the interior cross already referred to--connects it with the ,main ,reading ,room4 ,the ,vestibule4--,the arcades surrounding the well1 or ,staircase ,hall1 as it would better be called1 screen two stories of corridors4 ,the corridor which the visitor has now entered--the ,west ,corridor1 on the library floor--serves as the general vestibule of the building1 and appropriately1 therefore1 is more sumptuously decorated than any of the others4 ,the most striking feature is a heavily panelled ceiling1 finished in white and gold--perhaps as fine an example of gold ornamentation on a large scale as can be found in the country4 ,it is impressively rich and elegant without in the least overstepping the line of modesty and good taste4 ,the corridor is bounded by piers of ,italian marble ornamented with pilasters4 ,there are five piers on each side1 those on the west terminating the deep arches of the doors and windows1 and one at either end4 ,it will be noticed that these piers1 like all the others on this floor1 are wider than they are deep1 so that the arches they support are of varying depth--the narrow ones running from north to south1 and the deeper ones from east to west1 invariably4 ,this difference of depth1 both of the piers and of the arches1 is apt to be somewhat bewildering until one perceives the system on which it is based1 so that it may be well to add in this connection that the same rule of broad and narrow1 and the direction in which each kind runs1 holds good1 also1 of the corridors on the second floor1 the only variation being that paired columns1 as has already been pointed out1 are substituted for piers4 ,the ,stucco ,decoration of the ,vestibule4--,above the marble arches of the ,vestibule the wall with its ornamentation1 and the whole of the panelled ceiling1 are of stucco4 ,by the use of this material1 especially in connection with the gold1 the architect has succeeded in obtaining a warmer and softer tone of white than would have been possible in marble4 ,illustration3 ,,the ,,minerva ,,of ,,war4 ,,by ,,herbert ,,adams4 ,above each of the side piers are two white-and-gold consoles1 or brackets1 which support the panelled and gilded beams of the ceiling4 ,in front of every console--and almost1 but not quite1 detached from it--springs a figure of ,minerva1 left the natural white of the stucco4 ,the figures are about three feet in height1 and were executed from two different models1 each the work of ,mr4 ,herbert ,adams4 ,they are skilfully composed in pairs3 the first 7the ,minerva of ,war7 carrying in one hand a falchion or short1 stout sword1 and in the other holding aloft the torch of learning2 and the second 7the ,minerva of ,peace7 bearing a globe and scroll--the former significant of the universal scope of knowledge4 ,although thus differing1 the figures are of the same type2 both wear the gis and the same kind of casque1 and both are clad in the same floating classic drapery4 ,modelled in relief upon the wall between the two ,minervas is a splendid white-and-gold ,greek altar1 used as an electric light standard4 ,the bowl is lined with a circle of large leaves1 from which springs a group of nine lamps1 suggesting1 when lighted1 a cluster of some brilliant kind of fruit4 ,above the piers at either end of the corridor is another altar1 somewhat narrower and of a different design1 but used for the same purpose4 ,it should be noted that1 for the most part1 both in the ceiling and on the walls1 the gold has been dulled or softened in tone in order to avoid any unpleasing glare or contrast with the white4 ,this effect1 however1 is regularly relieved by burnishing the accentuating points in certain of the mouldings4 ,the ,marble ,flooring4--,before leaving the ,vestibule1 the visitor may be interested to notice the design of the marble flooring4 ,the body of it is white ,italian1 with bands and geometric patterns of brown ,tennessee1 and edgings of yellow mosaic4 ,it will be seen at once that the design is harmonious with the lines of the arcade and the ceiling4 ,these are not slavishly mimicked1 but are developed1 varied1 and extended4 ,sometimes a circle is used to draw together two opposite arches2 sometimes a square echoes the pattern of the ceiling2 lines of beaming--as they may be called in an easy metaphor--connect opposite piers2 and finally the boundaries of the corridor are outlined in a broad border enclosing the whole4 ,it has been said that in hardly any other building in the country has so much pains been taken by the architect to make the lines of his floor designs consistent with those of the architecture and the general decorative scheme4 ,throughout the ,library1 wherever marble or mosaic is used for this purpose1 the visitor will find this phase of the ornamentation of the building of the highest interest and importance4 ,illustration3 ,,the ,,main ,,vestibule4 ,the ,staircase ,hall4--,the floor of the ,staircase ,hall1 into which one passes next1 is an excellent example of this point4 ,besides the marble1 the pattern contains a number of modelled and incised brass inlays4 ,the one in the centre is a large rayed disc1 or conventional sun1 on which are noted the four cardinal points of the compass1 which coincide with the direction of the main axes of the ,library4 ,the disc thus performs the same service for the building--only more picturesquely and vividly--as an arrow-head cross for a chart or plan4 ,from the sun as a centre proceeds a great circular glory--or 8scale pattern10 as it is technically1 and more descriptively1 called--of alternate red and yellow ,italian marble1 the former from ,verona and the latter from ,sienna4 ,other inlays are arranged in a hollow square1 enclosing the sun as a centrepiece4 ,twelve represent the signs of the zodiac2 the others are in the form of rosettes1 in two patterns4 ,they are embedded in blocks of dark red1 richly mottled1 ,french marble1 around which are borders of pure white ,italian marble4 ,the ,commemorative ,arch4--,on the easterly side of the ,staircase ,hall1 on the way to the ,reading ,room1 the regularity of the arcade is interrupted by a portico of equal height1 which does duty as a sort of miniature triumphal arch1 commemorating the erection of the ,library4 ,the spandrels contain two sculptured figures in marble by the late ,olin ,l4 ,warner1 the sculptor of the bronze doors previously described4 ,along the frieze are the words ,,library ,,of ,,congress1 inscribed in tall gilt letters4 ,a second inscription1 giving the names of those concerned in the erection of the ,library1 is cut upon the marble tablet which forms part of the parapet above4 ,it is flanked by lictors' axes and eagles1 sculptured in marble1 and reads as follows3 ,,erected ,,under ,,the ,,acts ,,of ,,congress ,,of ,,april #ae #ahhf ,,october #b #ahhh ,,and ,,march #b #ahhi ,,by ,,brig4 ,,gen4 ,,thos4 ,,lincoln ,,casey ,,chief ,,of ,,engineers ,u4 ,s4 ,a4 ,,bernard ,r4 ,,green ,,supt4 ,,and ,,engineer ,,john ,l4 ,,smithmeyer ,,architect ,,paul ,j4 ,,pelz ,,architect ,,edward ,,pearce ,,casey ,,architect ,mr4 ,warner's ,spandrel ,figures4--,mr4 ,warner's figures in the spandrels of this commemorative arch are life-size1 and are entitled ,the ,students4 ,both figures--one in either spandrel--are represented in an easy1 but dignified and sculptural attitude1 leaning on one arm against the curve of the arch4 ,that to the left is of a young man seeking to acquire from books a knowledge of the experience of the past4 ,that to the right is an old man with flowing beard1 absorbed in meditation4 ,he is no longer concerned so much with books as with observation of life and with original reflection and thought4 ,the sculptor has thus naturally indicated the development of a scholar's mind1 from youth to old age4 ,as an ornament of the approach to the ,reading ,room1 the appropriateness of the figures is obvious4 ,illustration3 ,,america ,,and ,,africa4--,,by ,,philip ,,martiny4 ,within the arch1 the pier on either side is decorated with a bit of relief work1 consisting of the seal of the ,united ,states flanked by sea-horses1 by ,mr4 ,philip ,martiny4 ,it is ,mr4 ,martiny's sculpture1 also1 which ornaments the staircase1 the coved ceiling1 and the lower spandrels of the ,staircase ,hall4 ,with the exception of ,mr4 ,warner's figures1 just described1 and of a series of cartouches and corner eagles which occupy the spandrels of the second-story arcade--the work of ,mr4 ,weinert--,mr4 ,martiny has this central hall to himself1 so far as the sculpture is concerned4 ,mr4 ,martiny's ,staircase ,figures4--,the spandrels in the first story are unusually delicate and pretty4 ,the design comprises wreaths of roses and oak and laurel leaves1 with oak or palm for a background4 ,it is in the staircases1 however1 that ,mr4 ,martiny's work is most varied and elaborate4 ,on the piers between which they descend into the hall1 he has sculptured a striking female head of the classic type1 with a garland below and a kind of foliated arabesque on either side4 ,upon the newel post which terminates the railing of each staircase is placed a bronze female figure upholding a torch for electric lights4 ,the two figures are somewhat taller than life1 measuring six and a half feet1 or eight feet to the top of the torch1 and ten feet including the rounded bronze base on which they stand4 ,each has a laurel wreath about her head1 and is clad in classic drapery4 ,illustration3 ,,the ,,commemorative ,,arch4 ,halfway up the staircase is a sort of buttress1 which serves as a pedestal for a group representing1 on the south side of the hall1 ,africa and ,america1 and on the other side1 ,europe and ,asia4 ,the four continents are typified1 very delightfully1 by little boys1 about three feet high1 seated by the side of a large marble globe1 on which appear the portions of the earth's surface which they are intended to personify4 ,america is an ,indian1 with a tall headdress of feathers1 a bow and arrow1 and a wampum necklace4 ,with one hand he shades his eyes while he gazes intently into the distance1 awaiting1 one may fancy1 the coming of his conqueror1 the white man4 ,africa is a little negro1 with a war-club and his savage necklace of wild beasts' claws4 ,asia is a ,mongolian1 dressed in flowing silk robes1 the texture of which1 as the visitor will notice1 is very perfectly indicated by arranging the folds of the marble so that they receive the proper play of light and shade4 ,in the background is a sort of dragon-shaped jar of porcelain4 ,europe is clad in the conventional classic costume1 and has a lyre and a book2 and a ,doric column is introduced beside him--the three objects symbolizing1 specifically1 ,music1 ,literature1 and ,architecture1 and1 more broadly1 the pre-eminence of the ,caucasian races in the arts of civilization generally1 just as the dragon-jar on the other side of the globe stands for the admirable ceramic art of ,china and ,japan2 and1 also1 as the wampum and bow of the ,indian indicate his advance in culture over the stage of evolution typified by the rude war-club and savage necklace of the negro4 ,the balustrade of the top landing on either side is ornamented with the figures of three children in relief representing certain of the ,fine ,arts4 ,in the south staircase1 beginning at the left as one looks up from the floor1 are ,comedy1 ,poetry1 and ,tragedy4 ,the first has a comic mask and the thyrsus or ivy-wreathed wand of ,bacchus1 to whom the first comedies were dedicated4 ,poetry has a scroll1 and ,tragedy the tragic mask4 ,opposite1 the figures1 taking them again from left to right1 represent ,painting1 with palette and brushes2 ,architecture1 with compasses and a scroll1 and behind him the pediment of a ,greek temple2 and ,sculpture1 modelling a statuette4 ,illustration3 ,,detail ,,of ,,the ,,grand ,,staircase4 ,in the ascending railing of each staircase ,mr4 ,martiny has introduced a series of eight marble figures in high relief4 ,these1 also1 are of little boys1 and represent various occupations1 habits and pursuits of modern life4 ,the procession is bound together by a garland hanging in heavy festoons1 and beneath is a heavy laurel roll4 ,in the centre the series is interrupted by the group on the buttress just described4 ,at the bottom it begins quaintly with the figure of a stork4 ,thence1 on the south side of the hall1 the list of subjects is as follows3 ,a ,mechanician1 with a cog-wheel1 a pair of pincers1 and a crown of laurel1 signifying the triumphs of invention2 a ,hunter1 with his gun1 holding up by the ears a rabbit which he has just shot2 an infant ,bacchanalian1 with ,bacchus's ivy and panther skin1 hilariously holding a champagne glass in one hand2 a ,farmer1 with a sickle and a sheaf of wheat2 a ,fisherman1 with rod and reel1 taking from his hook a fish which he has landed2 a little ,mars1 polishing a helmet2 a ,chemist1 with a blow-pipe2 and a ,cook1 with a pot smoking hot from the fire4 ,in the north staircase are3 ,a ,gardener1 with spade and rake2 an ,entomologist1 with a specimen-box slung over his shoulder1 running to catch a butterfly in his net2 a ,student1 with a book in his hand and a mortar-board cap on his head2 a ,printer1 with types1 a press1 and a type-case2 a ,musician1 with a lyre by his side1 studying the pages of a music book2 a ,physician1 grinding drugs in a mortar1 with a retort beside him1 and the serpent sacred to medicine2 an ,electrician1 with a star of electric rays shining on his brow and a telephone receiver at his ear2 and lastly1 an ,astronomer1 with a telescope1 and a globe encircled by the signs of the zodiac which he is measuring by the aid of a pair of compasses4 ,illustration3 ,,the ,,staircase ,,figures4--,,by ,,philip ,,martiny4 ,the ,ceiling of the ,staircase ,hall4--,beneath the second-story cartouches on the east and west sides of the hall are tablets inscribed in gilt letters with the names of the following authors3 ,longfellow1 ,tennyson1 ,gibbon1 ,cooper1 ,scott1 ,hugo1 ,cervantes4 ,a single moulding in the marble cornice above is touched with gold1 as an introduction to the rich coloring and profuse use of gilding in the coved ceiling which it supports4 ,the cove itself is of stucco1 and is painted blue--the color of the sky1 which it is intended to suggest--with yellow penetrations4 ,these penetrations are outlined by a heavy gilt moulding1 and give space for ten semicircular latticed windows opening into the rooms of the attic story4 ,in the centre of each penetration is painted a white tablet supported by dolphins1 and bearing the name of some illustrious author--,dante1 ,homer1 ,milton1 ,bacon1 ,aristotle1 ,goethe1 ,shakespeare1 ,molire1 ,moses1 and ,herodotus4 ,in each corner of the cove are two female half-figures1 as they are called1 supporting a cartouche1 on which are a lamp and a book1 the conventional symbols of learning4 ,the figures and cartouche are of stucco1 and were modelled by ,mr4 ,martiny4 ,around them the cove is sprinkled with stars4 ,higher up are the figures of flying geniuses1 two in each corner1 painted by ,mr4 ,frederick ,c4 ,martin1 of ,mr4 ,garnsey's staff4 ,between the penetrations1 the curve of the cove is carried upon heavy gilt ribs1 richly ornamented with bands of fruit4 ,in the spandrel-shaped spaces thus formed on either side1 ,mr4 ,martin has painted another series of geniuses1 which1 by reason of the symbolical objects which accompany them1 reflect very pleasantly the intention of ,mr4 ,martiny's sculpture in the staircases below4 ,the significance of most of the things they bear is obvious4 ,beginning at the southwest corner1 and going to the right1 the list is as follows3 a pair of ,pan's pipes2 a pair of cymbals2 a caduceus1 or ,mercury's staff2 a bow and arrows2 a shepherd's crook and pipes2 a tambourine2 a palette and brushes2 a torch2 a clay statuette and a sculptor's tool2 a bundle of books2 a triangle2 a second pair of pipes2 a lyre2 a palm branch and wreath 7the rewards of success72 a trumpet2 a guitar2 a compass and block of paper 7for ,architecture72 a censer 7for ,religion72 another torch2 and a scythe and hour-glass--the attributes of ,father ,time4 ,the ceiling proper rests upon a white stylobate supported on the cove4 ,it is divided by heavy beams1 elaborately panelled1 and ornamented with a profusion of gilding1 and contains six large skylights1 the design of which is a scale pattern1 chiefly in blues and yellows1 recalling the arrangement in the marble flooring beneath4 ,first ,floor ,corridors3 the ,mosaic ,vaults4--,the ,north1 ,south1 and ,east ,corridors on the first floor of the ,entrance ,hall are panelled in ,italian marble to the height of eleven feet1 and have floors of white1 blue1 and brown 7,italian1 ,vermont1 and ,tennessee7 marble1 and beautiful vaulted ceilings of marble mosaic4 ,these last will immediately attract the attention of the visitor4 ,the working cartoons were made by ,mr4 ,herman ,t4 ,schladermundt from preliminary designs by ,mr4 ,casey as architect4 ,the body of the design is in a light1 warm grayish tone1 relieved by richly ornamental bands of brown which follow pretty closely the architectural lines of the vaulting--springing from pier to pier or outlining the penetrations and pendentives4 ,in all three corridors tablets bearing the names of distinguished men are introduced as a part of the ornament1 and in the ,east ,corridor are a number of discs1 about eighteen inches in diameter1 on which are depicted 8trophies10 as they are called1 emblematic of various arts and sciences1 each being made up of a group of representative objects such as the visitor has seen used to distinguish the subjects of ,mr4 ,martiny's staircase figures4 ,the method of making and setting such a mosaic ceiling is interesting enough to be described4 ,the artist's cartoon is made full size and in the exact colors desired4 ,the design1 color and all1 is carefully transferred by sections to thicker paper1 which is then covered with a coating of thin glue4 ,on this the workman carefully fits his material1 laying each stone smooth side down4 ,the ceiling itself is covered with a layer of cement1 to which the mosaic is applied4 ,the paper is then soaked off1 and the design pounded in as evenly as possible1 pointed off1 and oiled4 ,as the visitor may see1 however1 it is not polished1 like a mosaic floor1 but is left a little rough in order to give full value to the texture of the stone4 ,at the east end of the ,north and ,south ,corridors is a large semi-elliptical tympanum1 twenty-two feet long4 ,along the walls are smaller tympanums1 below the penetrations of the vault4 ,at the west end1 over the arch of the window1 is a semicircular border4 ,these spaces are occupied by a series of paintings--in the ,north ,corridor by ,mr4 ,charles ,sprague ,pearce1 and in the ,south ,corridor by ,mr4 ,h4 ,o4 ,walker4 ,like most of the special mural decorations in the ,library1 they are executed in oils on canvas1 which is afterwards affixed to the wall by a composition of whitelead4 ,mr4 ,pearce's ,paintings4--,mr4 ,pearce's decorations are seven in number4 ,the subject of the large tympanum at the east end is ,the ,family4#f ,the smaller panels along the north wall1 taking them from left to right1 are entitled ,religion1 ,labor1 ,study1 and ,recreation4 ,the single painting on the south side of the corridor1 occurring opposite the panel of ,recreation1 represents ,rest4 ,the broad1 arched border at the west end contains two female figures floating in the air and holding between them a large scroll on which is inscribed the sentence1 from ,confucius3 8,give instruction unto those who cannot procure it for themselves40 ,illustration3 ,,the ,,north ,,corridor4--,,main ,,entrance ,,hall4 ,the series1 as seen by the list of titles just given1 illustrates the main phases of a pleasant and well-ordered life4 ,the whole represents the kind of idyllic existence so often imagined by the poets--showing a people living in an ,arcadian country in a state of primitive simplicity1 but possessing the arts and habits of a refined cultivation4 ,this life is very well summed up in the first of ,mr4 ,pearce's paintings--that representing ,the ,family4 ,the subject is the return of the head of the household to his family1 after a day spent in hunting4 ,he stands in the centre1 his bow not yet unstrung1 receiving a welcome home4 ,his aged mother1 with her hands clasped over the head of her staff1 looks up from the rock on which she is sitting1 and the gray-bearded father lays aside the scroll in which he has been reading4 ,the hunter's little girl has hold of his garment1 and his wife holds out his baby son4 ,an older daughter leans her elbow against a tree4 ,the scene is in the open air1 at the mouth of a cave1 with a view beyond into a wooded valley bounded by high mountains4 ,the smaller tympanums illustrate the simple occupations and relaxations of such an existence as is here depicted4 ,recreation shows two girls in a glade of the forest playing upon a pipe and a tambourine4 ,in the panel of ,study1 a girl1 sitting with her younger companion on a great rock1 is instructing her with the aid of a book and compasses and paper4 ,labor is represented by two young men working in the fields4 ,one is removing the stump of a tree1 and the other is turning over the newly cleared soil to fit it for planting4 ,in ,religion1 a young man and a girl are kneeling before a blazing altar constructed of two stones1 one set upon the other4 ,in ,rest1 two young women are sitting quietly beside a pool1 where they have come with their earthen jars for water4 ,the penetrations in the vault of ,mr4 ,pearce's corridor contain the names of men distinguished for their work in furthering the cause of education3 ,froebel1 ,pestalozzi1 ,comenius1 ,ascham1 ,howe1 ,gallaudet1 ,mann1 ,arnold1 ,spencer4 ,it is of some interest to note that among the hundreds of names inscribed in the ,library only three are those of men still living4 ,herbert ,spencer1 the last-named in the list just given1 is one1 and the other two are ,alexander ,graham ,bell and ,thomas ,a4 ,edison4 ,illustration3 ,,religion--,,by ,,charles ,,sprague ,,pearce4 ,mr4 ,walker's ,paintings4--,the general subject of ,mr4 ,walker's decorations is ,lyric ,poetry4 ,like ,mr4 ,pearce's1 in the corresponding position1 the painting in the large tympanum at the east end of the corridor sums up in a general way the subject of the whole series4 ,the scene is a wood1 with a vista beyond into a wide and open champagne4 ,down the centre a brook comes tumbling and splashing over its rocky bed4 ,although wild1 and thus suggestive1 perhaps1 of the inspiration of poetry1 the landscape purposely has1 as a whole1 a touch of artfulness1 hinting therefore at the formalities of metre and rhyme4 ,the titles of the figures which enter into the composition--all1 with one exception1 those of women--are named in the conventional border with which the artist has enclosed his painting4 ,the figure standing boldly forward in the centre represents ,lyric ,poetry4 ,she is crowned with a wreath of laurel1 and is touching the strings of a lyre4 ,the feelings which most commonly inspire her song are personified on either side4 ,to her left are ,pathos1 looking upward1 as if calling on ,heaven to allay her grief2 ,truth1 a beautiful nude woman 7the ,naked ,truth7 standing securely upright1 and seeming by her gesture to exhort the central figure not to exceed the bounds of natural feeling2 and in the corner of the tympanum1 ,devotion1 sitting absorbed in contemplation4 ,on the other side of the panel are ,passion1 with an eager look1 and her arms thrown out in a movement at once graceful and enraptured2 ,beauty1 sitting calmly self-contained2 and ,mirth1 the naked figure of a little boy1 inviting her to join his play4 ,for the smaller tympanums1 ,mr4 ,walker has taken single youthful male figures suggested by various poems by ,english and ,american poets--on the south side of the corridor1 ,tennyson1 ,keats1 ,wordsworth1 and ,emerson1 and on the north side1 ,milton and ,shakespeare4 ,although not always from lyrics1 the general spirit of the scene selected is invariably lyrical4 ,the first painting shows ,ganymede upon the back of the eagle--the form taken by ,jupiter when he brought the boy from his earthly home to be the cup-bearer of the gods4 ,the lines referred to are in ,tennyson's ,palace of ,art3-- ,flushed ,ganymede1 his rosy thigh ,half-buried in the ,eagle's down1 ,sole as a flying star shot thro' the sky ,above the pillar'd town4 ,the next panel represents ,endymion1 in ,keats's poem of that name1 lying asleep on ,mount ,latmos1 with his lover1 ,diana1 the ,moon1 shining down upon him4 ,the painter1 however1 had no special passage of the poem in mind4 ,illustration3 ,,study4--,,by ,,charles ,,sprague ,,pearce4 ,the third panel is based on ,wordsworth's lines beginning1 8,there was a ,boy40 ,a boy is seated by the side of a lake the surface of which reflects the stars3-- ,there was a ,boy2 ye knew him well1 ye cliffs ,and islands of ,winander6--many a time1 ,at evening1 when the earliest stars began ,to move along the edges of the hills1 ,rising or setting1 would he stand alone1 ,beneath the trees1 or by the glimmering lake2 ,and there1 with fingers interwoven1 both hands ,pressed closely palm to palm and to his mouth ,uplifted1 he1 as through an instrument1 ,blew mimic hootings to the silent owls1 ,that they might answer him4444 ,then1 sometimes1 in that silence1 while he hung ,listening1 a gentle shock of mild surprise ,has carried far into his heart the voice ,of mountain-torrents2 or the visible scene ,would enter unawares into his mind ,with all its solemn imagery1 its rocks1 ,its woods1 and that uncertain heaven received ,into the bosom of the steady lake4 ,for ,emerson1 ,mr4 ,walker has selected the poem of ,uriel1 representing the angel retired in scorn from his companions1 on account of the anger with which they have received his proposition3-- ,line in nature is not found2 ,unit and universe are round2 ,in vain produced1 all rays return2 ,evil will bless1 and ice will burn4 ,illustration3 ,,ganymede4--,h4 ,o4 ,,walker4 ,in the selection of this subject1 ,mr4 ,walker has commemorated ,emerson in a very interesting personal way--for the poem was written soon after the famous ,phi ,beta ,kappa oration of #ahch1 and is understood to voice ,emerson's feelings regarding the storm of opposition which that address had called forth4 ,milton is represented by a scene out of the masque of ,comus--the vile enchanter ,comus 7in the guise of a shepherd7 entranced at hearing the song of the ,lady4 ,the words which he speaks in the poem1 and which ,mr4 ,walker seeks to illustrate in his painting1 are as follows3-- ,can any mortal mixture of earth's mould ,breathe such divine enchanting ravishment8 ,in ,shakespeare1 the artist has gone to ,venus and ,adonis1 showing the dead body of ,adonis1 killed by the boar1 lying naked in the forest4 ,the painting refers to no particular lines in the poem4 ,the broad border at the west end is occupied by an idyllic summer landscape containing three seated female figures and a youth--the two figures to the left1 one of them caressing a lamb1 representing the more joyful moods of lyric poetry1 and the other two its more solemn feelings4 ,at the top is a streamer1 with the words1 from ,wordsworth3-- ,the ,poets1 who on earth have made us heirs ,of truth and pure delight by heavenly lays6 ,in the mosaic of the vault are the names of lyric poets1 six ,americans occupying the penetrations on the north side3 ,longfellow1 ,lowell1 ,whittier1 ,bryant1 ,whitman1 ,poe2 and the following ,english and foreign or ancient lyrists along the centre of the vault and in the south penetrations3 ,browning1 ,shelley1 ,byron1 ,musset1 ,hugo1 ,heine1 ,theocritus1 ,pindar1 ,anacreon1 ,sappho1 ,catullus1 ,horace1 ,petrarch1 ,ronsard4 ,illustration3 ,,lyric ,,poetry4--,,by ,h4 ,o4 ,,walker4 ,mr4 ,alexander's ,paintings4--,in the ,east ,corridor are six tympanums of the same size as the smaller panels of ,mr4 ,walker and ,mr4 ,pearce1 by ,mr4 ,john ,w4 ,alexander1 illustrating ,the ,evolution of the ,book4 ,the subjects are1 at the south end1 ,the ,cairn1 ,oral ,tradition1 and ,egyptian ,hieroglyphics2 and at the north end1 ,picture ,writing1 ,the ,manuscript ,book1 and ,the ,printing ,press4 ,in the first of these1 a company of primitive men1 clad in skins1 are raising a heap of stones on the seashore1 perhaps as a memorial of some dead comrade1 or to commemorate some fortunate event1 or1 perhaps1 merely as a record to let others know the stages of their journey4 ,in the second panel1 an ,arabian story-teller stands relating his marvellous tales in the centre of a circle of seated ,arabs4 ,the third shows a scaffolding swung in front of the portal of a newly erected ,egyptian temple4 ,a young ,egyptian workman is cutting a hieroglyphic inscription over the door1 while an ,egyptian girl1 his sweetheart1 sits watching the work beside him4 ,picture ,writing represents a young ,american ,indian1 with a rudely shaped saucer of red paint beside him1 depicting some favorite story of his tribe upon a dressed and smoothed deer-skin4 ,an ,indian girl lies near him1 attentively following every stroke of his brush4 ,the next panel gives the interior of a convent cell1 with a monk1 seated in the feeble light of a small window1 laboriously illuminating in bright colors the pages of a great folio book4 ,the last of the series shows ,gutenberg1 the inventor of printing1 in his office3 the master1 with his assistant beside him1 examining a proof-sheet1 and discussing the principle of his great invention4 ,to the right is an apprentice1 swaying upon the handle-bar of the rude press4 ,mosaic ,decorations of the ,east ,corridor4--,the various trophies already spoken of as ornamenting the mosaic of the vault of the ,east ,corridor are ten in number1 each occurring in one of the pendentives1 at the ends and along the sides4 ,below each are the names of two ,americans 7only those actually born in the ,united ,states being included7 eminent in the art or science typified4 ,the list of trophies1 with the names1 is as follows3 ,architecture 7the capital of an ,ionic column1 with a mallet and chisel71 ,latrobe and ,walter2 ,natural ,philosophy 7a crucible and pair of balances1 etc471 ,cooke and ,silliman2 ,music 7a lyre1 flute1 horn1 and music-sheet71 ,mason and ,gottschalk2 ,painting 7a sketch-book1 palette1 and brushes71 ,stuart and ,allston2 ,sculpture 7the torso of a statue71 ,powers and ,crawford2 ,astronomy 7a celestial globe71 ,bond and ,rittenhouse2 ,engineering 7including an anchor1 protractor1 level1 etc471 ,francis and ,stevens2 ,poetry 7a youth bestriding ,pegasus71 ,emerson and ,holmes2 ,natural ,science 7a microscope and a sea-horse71 ,say and ,dana2 ,mathematics 7a compass and counting-frame71 ,peirce and ,bowditch4 ,in the vault proper is inscribed a list of names of ,americans distinguished in the three learned professions3 under ,medicine1 ,cross1 ,wood1 ,mc,dowell1 ,rush1 ,warren2 under ,theology1 ,brooks1 ,edwards1 ,mather1 ,channing1 ,beecher2 and under ,law1 ,curtis1 ,webster1 ,hamilton1 ,kent1 ,pinkney1 ,shaw1 ,taney1 ,marshall1 ,story1 and ,gibson4 ,illustration3 ,,the ,,manuscript ,,book4--,,by ,,john ,w4 ,,alexander4 ,from the ,east ,corridor1 entrance to the basement may be had through a little lobby with a domed mosaic ceiling under either of the main staircases4 ,at the north end of the corridor is the ,librarian's ,room1 and at the south end are a toilet-room for ladies and a cloak-room4 ,the little lobby of the latter is especially bright and attractive1 with deep1 velvety red walls1 a high arabesque frieze1 and ceiling decorations of lyres and a disc containing a large honeysuckle ornament4 ,the ,librarian's ,room4--,the ,librarian's ,room is one of the most beautifully finished of any in the ,library4 ,it is divided into two by a broad1 open arch1 leaving the office proper on one side1 and a smaller1 more private office1 with a gallery above1 on the other4 ,the fittings are in oak1 with oak bookcases4 ,the windows look out upon the ,northwest ,court4 ,the gallery has a groined ceiling1 and over the main office is a shallow dome1 with stucco ornamentation in low relief by ,mr4 ,weinert4 ,standing in a ring around a central disc are the figures of ,grecian girls1 from two slightly differing models1 holding a continuous garland4 ,other ornaments are gilded tablets and square or hexagonal panels1 bearing an owl1 a book1 or an antique lamp4 ,the central disc is occupied by a painting by ,mr4 ,edward ,j4 ,holslag1 already spoken of as the foreman of ,mr4 ,garnsey's staff1 representing ,letters--the seated figure of a beautiful woman holding a scroll in her hand and accompanied by a child with a torch4 ,the following ,latin sentence is inscribed in a streamer3 ,litera scripta manet4 ,illustration3 ,,the ,,printing-,,press4--,,by ,,john ,w4 ,,alexander4 ,in the pendentives of the dome1 ,mr4 ,weinert has modelled a figure1 about two feet in height1 of a boy holding a palm-branch and blowing a trumpet4 ,like the ring of girls in the dome1 the figures are of an alternating design4 ,above each is a circular panel with the half-length figure of a woman1 painted by ,mr4 ,holslag4 ,the four decorations are intended to supplement1 in a general way1 the idea of ,mr4 ,holslag's ceiling disc2 one of the figures1 for example1 holds a book1 another a lute 7for the musical quality of literature71 and so on4 ,each painting contains a ,latin inscription1 as follows3--,liber dilectatio animae2 ,efficiunt clarum studio2 ,dulces ante omnia ,musae2 ,in tenebris lux4 ,the color scheme adopted for the room is chiefly green4 ,a green tinge is used in the dome to emphasize the outline of the ornament1 and green1 on a blue ground1 predominates in the arabesques contained in the tympanums below4 ,the design of these last--where complete1 that is1 for the tympanums are variously intercepted by door- and window-arches--is a pleasant little study of the evolution of the poet4 ,at the bottom1 a little boy is playing a pastoral tune on his oaten pipe2 above1 two little trumpeters blare at him to join them in the joy of battle2 and at the top1 a fourth child1 the full-fledged bard1 sits astride his modern hobby-horse4 ,the centre of the decoration shows either a ,pegasus or a ,pandora1 the latter opening the famous box containing all the ills which plague mankind1 and only ,hope for a blessing4 ,the ,lobbies of the ,rotunda4--,beyond the ,east ,corridor1 and separated from it by an arcade1 is the broad passageway leading to the ,reading ,room4 ,the entrance for visitors1 however1 is by way of the second story1 the doors on the library floor being open only to those desiring to consult books4 ,the passageway is divided by a second arcade into two transverse lobbies4 ,the ceiling of each is vaulted1 with a mosaic design of much the same pattern as those in the corridors already described4 ,the second lobby is the immediate vestibule of the ,reading ,room1 and contains the two main passenger elevators1 one at either end4 ,they start at the basement and ascend to the attic story1 where1 among other rooms1 are a commodious and well-equipped kitchen and restaurant for the use of visitors and students1 and the attendants in the ,library4 ,mr4 ,vedder's ,paintings4--,the lobby contains five tympanums1 of the same size as ,mr4 ,alexander's1 which are filled by a series of paintings by ,mr4 ,elihu ,vedder1 illustrating1 in a single word1 ,government4 ,small as it is1 the little lobby offers the painter one of the most significant opportunities in the whole interior2 work here placed1 in an apartment of the ,library which serves at once as elevator-hall and as vestibule to the ,main ,reading ,room1 can hardly fail to attract the attention of everyone passing through the building4 ,it could not be more conspicuous anywhere outside the central ,reading ,room1 and the selection of such a subject as ,government is therefore peculiarly appropriate4 ,in every sort of library the fundamental thing is the advancement of learning--illustrated in the ,reading ,room dome1 as the visitor will see later--but in a library supported by the nation the idea of government certainly comes next in importance4 ,illustration3 ,a ,,ceiling ,,figure4 ,,by ,,albert ,,weinert4 ,the painting in the central tympanum1 over the door leading into the ,reading ,room1 is entitled simply ,government4 ,it represents the abstract conception of a republic as the ideal state1 ideally presented4 ,the other tympanums explain the practical working of government1 and the results which follow a corrupt or a virtuous rule4 ,the figures in these four tympanums are therefore appropriately conceived somewhat more realistically4 ,the decoration to the left of the central tympanum illustrates ,corrupt ,legislation1 leading to ,anarchy1 as shown in the tympanum at the end of the lobby1 over the elevator4 ,similarly1 on the other side1 ,good ,administration leads to ,peace and ,prosperity4 ,in all five1 the composition consists of a central female figure1 representing the essential idea of the design1 attended by two other figures which supplement and confirm this idea4 ,in the first painting1 ,government1 the central figure is that of a grave and mature woman sitting on a marble seat or throne1 which is supported on posts whose shape is intended to recall the antique voting-urn--a symbol which recurs1 either by suggestion or actually1 in each of the other four tympanums4 ,the meaning is1 of course1 that a democratic form of government depends for its safety upon the maintenance of a pure and inviolate ballot4 ,the throne is extended on either side into a bench1 which rests1 at each end1 upon a couchant lion1 with a mooring-ring in his mouth1 signifying that the ship of state must be moored to strength4 ,the goddess--for so1 perhaps1 she is to be considered--is crowned with a wreath1 and holds in her left hand a golden sceptre 7the ,golden ,rule71 by which the artist means to point out that no permanent good can accrue to a government by injuring another4 ,with her right hand she supports a tablet inscribed with the words1 from ,lincoln's ,gettysburg address1 8,a government of the people1 by the people1 for the people40 ,to the right and left stand winged youths or geniuses1 the first holding a bridle1 which stands for the restraining influence of order1 and the other with a sword with which to defend the ,state in time of danger1 or1 if one chooses1 the sword of justice--it may be taken either way4 ,the background of the group is the thick foliage of an oak tree1 emblematic of strength and stability4 ,illustration3 ,,music4--,,by ,,edward ,j4 ,,holslag4 ,in the second panel1 ,corrupt ,legislation is represented by a woman with a beautiful but depraved face sitting in an abandoned attitude on a throne the arms of which are cornucopias overflowing with the coin which is the revenue of the ,state4 ,but this revenue is represented not as flowing outward1 for the use and good of the people1 but all directed toward the woman herself4 ,the artist's idea was that when revenue is so abundant1 as here depicted1 that it greatly exceeds the needs of government1 then government becomes a temptation to all kinds of corrupt practices4 ,the path in front of the throne is disused and overgrown with weeds1 showing that under such a corrupt government the people have abandoned a direct approach to ,justice4 ,with her right hand1 the woman waves away1 with a contemptuous gesture1 a poorly clad girl--representing ,labor--who comes1 showing her empty distaff and spindle1 in search of the work which should be hers by right1 but which she cannot obtain under a government inattentive to the wrongs of the people4 ,in her left hand the woman holds a sliding scale--used as being more easily susceptible of fraud than a pair of balances1 and the proper emblem therefore of the sort of justice in which she deals4 ,a rich man is placing in it a bag of gold2 he sits confidently beside her1 secure of her favors in return for his bribe4 ,at his feet are other bags of gold and a strong box1 together with an overturned voting-urn filled with ballots1 signifying his corrupt control of the very sources of power4 ,in his lap he holds the book of ,law1 which he is skilled to pervert to his own ends4 ,in the background are his factories1 the smoke of their chimneys testifying to his prosperity4 ,on the other side the factories are smokeless and idle1 showing a strike or shut-down2 and the earthen jar in which the savings of ,labor have been hoarded lies broken at her feet4 ,the logical conclusion of such government is ,anarchy4 ,she is represented entirely nude1 raving upon the ruins of the civilization she has destroyed4 ,in one hand she holds the wine cup which makes mad1 and in the other the incendiary torch1 formed of the scroll of learning4 ,serpents twist in her dishevelled hair1 and she tramples upon a scroll1 a lyre1 a ,bible1 and a book--the symbols1 respectively1 of ,learning1 ,art1 ,religion1 and ,law4 ,beneath her feet are the dislocated portions of an arch4 ,to the right1 ,violence1 his eyes turned to gaze upon the cup of madness1 is prying out the corner-stone of a temple4 ,to the left1 ,ignorance1 a female figure1 with dull1 brutish face1 is using a surveyor's staff to precipitate the wreckage of civilization into the chasm which opens in the foreground4 ,beyond1 lying in an uncultivated field1 are a broken mill-wheel and a millstone4 ,but the end of such violence is clearly indicated2 no sooner shall the corner-stone be pried from the wall than the temple will fall and crush the destroyers2 and beside the great block on which ,anarchy has placed her foot lies a bomb1 with a lighted fuse attached4 ,such a condition1 says the painting1 must inevitably contain the seeds of its own destruction4 ,illustration3 ,,good ,,administration4--,,by ,,elihu ,,vedder4 ,on the other side of the central tympanum1 ,good ,administration sits holding in her right hand a pair of scales evenly poised1 and with her left laid upon a shield1 quartered to represent the even balance of parties and classes which should obtain in a well ordered democracy2 on this shield are emblazoned1 as emblems of a just government1 the weight1 scales1 and rule4 ,the frame of her chair is an arch1 a form of construction in which every stone performs an equal service--in which no shirking can exist--and therefore peculiarly appropriate to typify the equal part which all should take in a democratic form of government4 ,on the right is a youth who casts his ballot into an urn4 ,he carries some books under his arm1 showing that education should be the basis of the suffrage4 ,to the left is another voting-urn1 into which a young girl is winnowing wheat1 so that the good grains fall into its mouth while the chaff is scattered by the wind--an action symbolical of the care with which a people should choose its public servants4 ,in the background is a field of wheat1 a last touch in this picture of intelligence and virtue1 and1 in itself1 symbolical of prosperous and careful toil4 ,in the last panel1 that of ,peace and ,prosperity1 the central figure is crowned with olive1 the emblem of peace1 and holds in her hands olive-wreaths to be bestowed as the reward of excellence4 ,on either side is a youth1 the one to her right typifying the ,arts1 and the other1 ,agriculture4 ,the former sits upon an amphora or jar1 and is engaged in decorating a piece of pottery2 behind him is a lyre1 for ,music1 and in the distance a little ,grecian temple1 for ,architecture4 ,the other is planting a sapling1--an act suggestive of a tranquil1 just1 and permanent government1 under which alone one could plant with any hope of enjoying the shade and fruit of after years4 ,the background of the picture is a well-wooded and fertile landscape1 introduced for much the same purpose as the wheat-field in the preceding tympanum4 ,illustration3 ,,anarchy4--,,by ,,elihu ,,vedder4 ,still another piece of symbolism is expressed in this interesting series of pictures by the trees1 their foliage forming the background against which the central figure is placed4 ,the oak in the central panel has been spoken of4 ,in the design representing ,peace and ,prosperity1 an olive-tree typifies not only ,peace but ,spring2 in the next panel1 that of ,good ,administration1 the tree is the fig1 and the season summer2 in that of ,corrupt ,legislation1 the autumnal vine1 hinting at a too abundant luxury1 and with its falling leaves presaging decay2 and in that of ,anarchy1 bare branches and ,winter4 ,the ,second ,floor ,corridors4--,returning again to the ,entrance ,hall proper1 the visitor may most conveniently continue his tour of the ,library by ascending the ,grand ,staircase to the beautifully decorated corridors of the second-story arcade1 on his way to the public galleries of the ,main ,reading ,room4 ,the corridors are arranged like those which the visitor has already passed through on the first floor1 but their greater height and the brighter tone of the decoration give an effect of considerably greater spaciousness4 ,the ,decoration of the ,vaults4--,the floors of the corridors are laid in mosaic of varying patterns4 ,the ceilings are uniformly a barrel vault1 with pendentives--the same1 that is1 as those of the ,north1 ,east1 and ,south ,corridors below4 ,the vaults are covered with a painted decoration of ,renaissance ornament which for variety and interest is hardly surpassed anywhere else in the building4 ,the decorative scheme which has been adopted was planned throughout by ,mr4 ,casey1 and elaborated1 especially in the matter of color1 and carried into effect1 by ,mr4 ,garnsey1 working under ,mr4 ,casey's direction4 ,in addition1 each corridor contains1 as a distinctive accent of color and design1 a series of paintings by a specially commissioned artist--in the ,west ,corridor by ,mr4 ,walter ,shirlaw1 in the ,north ,corridor by ,mr4 ,robert ,reid1 in the ,east ,corridor by ,mr4 ,george ,r4 ,barse1 ,jr41 and in the ,south ,corridor by ,mr4 ,frank ,w4 ,benson4 ,in the side corridors1 also1 at the west end1 the arch of the vault is spanned by a broad band of stucco ornament containing a series of octagonal coffers1 ornamented in relief by ,mr4 ,hinton ,perry4 ,the decoration is varied1 of course1 from corridor to corridor1 in order to prevent any monotony of impression1 but the main principles on which it is based are everywhere the same4 ,thus the color scheme--which was suggested in part by the beautiful ,library in ,sienna--comprises in every corridor blue in the pendentives1 golden yellow in the penetrations1 and a grayish white in the body of the vault4 ,the only exception to this rule is in the ,west and ,east ,corridors1 which are terminated by double arches instead of ending directly upon a wall4 ,here the end penetrations are red and the pendentive yellow4 ,the others remain as before4 ,the delineation of the spaces is at bottom very simple1 and though more elaborate1 a good deal like that already noted in describing the mosaic in the lower corridors4 ,the penetrations are outlined by a bright colored border1 on which1 where the lines converge to a point at the top1 rests a border of greater width1 enclosing the entire vault in a single great rectangle4 ,this1 in turn1 is divided into compartments by bands of ornament1 varying in number according to the requirements of the decoration1 but always occurring immediately over the columns of the arcade4 ,these bands1 coming where they do1 perform a vital service for the decoration in continually reminding the visitor1 if only by a painted arabesque1 of the importance of the arch in such a piece of construction as a vault4 ,in the spaces between them are garlands and wreaths1 and panels for paintings and inscriptions--the whole making part of one great arabesque1 which is as easily intelligible and coherent as it is various1 but which would have been bewildering in its wealth of ornament and color if it had not been for the fundamental service performed by these various bands and borders and broad masses of color4 ,the penetrations and pendentives are richly embellished with a great variety of ornament1 both conventional and otherwise4 ,the treatment differs in different corridors1 however1 on account of the varying relative position of the paired columns which support the arcade--from which results first a series of wide and then a series of narrow pendentives4 ,where the former occur--in the ,west and ,east ,corridors--they are ornamented with the decorations of ,mr4 ,shirlaw and ,mr4 ,barse2 while the narrower pendentives on the north and south carry simple medallions and tablets1 and ,mr4 ,reid's and ,mr4 ,benson's paintings find place in the arabesque of the ceiling vault and in circular frames along the wall beneath4 ,the balance is restored1 however1 by introducing a series of medallions1 corresponding to ,mr4 ,benson's and ,mr4 ,reid's1 though smaller and of less importance1 in the vaults east and west1 and by ornamenting the penetrations in the side corridors with greater richness and elaboration4 ,illustration3 ,,the ,,north ,,corridor1 ,,second ,,story1 ,,main ,,entrance ,,hall4 ,,showing ,,decorations ,,by ,,george ,w4 ,,maynard ,,and ,,robert ,,reid4 ,the ,printers' ,marks4--,the most interesting decoration of the penetrations1 however1 is a series of 8,printers' ,marks0 which is continued through all four corridors4 ,altogether there are fifty-six of them--sixteen in each of the side corridors1 ten in the ,west ,corridor1 and fourteen in the ,east ,corridor4 ,they are painted in black outline1 and are of a sufficient size1 averaging about a foot and a half in height1 to be easily made out from the floor4 ,by a printer's mark1 it should be explained1 is meant the engraved device which the old printers used in the title-page or colophon of their books1 partly as a kind of informal trade-mark guarding against counterfeited editions1 and partly as a personal emblem1 such as a publisher of good standing would like to see on a long list of worthy books4 ,for this latter reason1 and in order to be able to add an interesting piece of ornament to the title-page1 the mark has been revived of late years by a considerable number of modern publishing and printing houses4 ,very often1 as the visitor will see1 the printer's mark is1 in its way1 a really beautiful piece of design2 many have an interest as being associated with the reputation of a famous printer like ,caxton1 or ,aldus1 or ,elzevir2 while others depend mainly for their point upon some special symbolical meaning1 very frequently taking the form of an illustrated pun4 ,thus1 in the ,west ,corridor1 the mark of ,lotter--which means 8vagrant0 in ,german--is a mendicant supplicating alms4 ,in the ,south ,corridor1 the mark of ,geoffroy ,tory commemorates the death of his little daughter--the broken vase1 with a book symbolizing the literary studies of which she had been fond4 ,there is no necessity1 however1 of describing the marks in detail1 for1 with the exception of two or three ,american examples1 they were all taken from ,mr4 ,william ,roberts's ,printers' ,marks 7,london1 #ahic71 in which they are illustrated and explained4 ,those thought best adapted for decorative effect were chosen throughout1 although the marks of as many of the better known printers as possible were included4 ,occasionally a border or a motto was omitted1 but in the main ,mr4 ,roberts's engravings were pretty exactly copied4 ,in the ,west ,corridor the marks are mostly those of ,german printers2 in the ,south ,corridor1 ,french2 in the ,east ,corridor1 ,italian and ,spanish2 in the ,north ,corridor1 ,english and ,scottish and ,american4#g ,mr4 ,hinton ,perry's ,bas-,reliefs4--,mr4 ,perry's bas-reliefs1 at the west end of the north and south vaults1 have already been referred to4 ,they are four in number1 and measure three feet eight inches from one side to another4 ,taken as a series they represent what may be called1 for lack of a better title1 ,ancient ,prophetic ,inspiration4 ,the chief figure in each is a sibyl or priestess--,greek1 ,roman1 ,persian1 ,scandinavian--in the act of delivering the prophetic warnings which have been revealed to her in the rapture of a divine frenzy4 ,she is regarded as the mouthpiece of the god1 and therefore as the fountain of religion1 wisdom1 literature1 art1 and success in war--all of which are typified1 in one panel or another1 in the figures of her auditors4 ,illustration3 ,,printers' ,,marks4--,,caxton1 ,,tory1 ,,lotter4 ,beginning in the ,south ,corridor1 the first panel shows the ,cuman or ,roman ,sibyl4 ,she is represented1 in accordance with the ancient histories1 as an old and withered hag1 whose inspiration comes from an infernal1 rather than a celestial source4 ,two figures1 as in all the panels1 complete ,mr4 ,perry's group1 one male and the other female4 ,the first is clad in the splendid armor of a ,roman general2 the woman is nude1 and stands for ,roman ,art and ,literature4 ,at her feet is a box of manuscripts1 and she takes in one hand an end of the long scroll 7representing one of the ,sibylline ,books1 so famous in ,roman history7 which the ,priestess holds in her lap4 ,the panel on the other side of the arch represents a ,scandinavian ,vala or ,wise ,woman1 with streaming hair and a wolf-skin over her head and shoulders4 ,she typifies1 in her bold gesture and excited gaze1 the barbaric inspiration of the ,northern nations4 ,to the left is the figure of a ,norse warrior1 and to the right a naked woman lies stretched upon the ground1 personifying the vigorous life and fecundity of genius of the ,north4 ,in the ,north ,corridor1 the subjects of ,mr4 ,perry's two decorations are ,greek and ,persian ,inspiration4 ,the former is represented by the ,priestess of the world-renowned ,oracle of ,apollo at ,delphi4 ,she is seated upon a tripod1 placed above a mysterious opening in the earth1 from which the sacred fumes rise to intoxicate the ,priestess1 and fill her with the spirit of prophecy4 ,on one side of the panel1 an old man1 standing for ,greek science and philosophy1 takes down her words on a tablet2 on the other is a nude female figure1 personifying ,greek art and literature4 ,in the second panel1 that of ,persia1 the face of the ,sibyl is veiled1 to signify the occult wisdom of the ,east4 ,a man prostrates himself at her feet in a fervor of religious devotion1 and a woman1 nearly nude1 stands listening in the background4 ,with her voluptuous figure and her ornaments of pearl and gold--a fillet1 anklets1 armlets1 and necklace--she represents the luxuriance and sensuousness of ,eastern art and poetry4 ,illustration3 ,,botany4 ,,by ,,walter ,,shirlaw4 ,mr4 ,shirlaw's ,paintings4--,the subjects of ,mr4 ,shirlaw's figures in the vault of the ,west ,corridor are1 on the west1 beginning at the left3 ,zology1 ,physics1 ,mathematics1 and ,geology2 and on the east1 again beginning at the left3 ,archology1 ,botany1 ,astronomy1 and ,chemistry4 ,each science is represented by a female figure about seven and a half feet in height4 ,the figures are especially interesting1 aside from their artistic merit1 for the variety of symbolism by which every science is distinguished from the others1 and for the subtlety with which much of this symbolism is expressed4 ,not only is each accompanied by various appropriate objects1 but the lines of the drapery1 the expression of the face and body1 and the color itself are1 wherever practicable1 made to subserve the idea of the science represented4 ,thus the predominant colors used in the figure of ,chemistry--purple1 blue1 and red--are the ones which occur most often in chemical experimenting4 ,in the pendentive of ,geology1 ,mr4 ,shirlaw employs principally purple and orange2 the former is the ruling color in many of the more common rock formations when seen in the mass and naturally2 and the latter is the color of the ordinary lichens one finds on boulders and ledges4 ,in the matter of line1 again1 the visitor will notice a very marked difference between the abrupt1 broken line used in the drapery of ,archology1 and the moving1 flowing line in that of ,physics4 ,in both cases it will be found that the line is in very complete sympathy with the character of the science depicted4 ,the method of archology is largely excavation carried on among sculptural and architectural fragments4 ,the swirling drapery of ,physics is suggestive of flame and heat4 ,zology is represented with a lion seated beside her1 her hands clasping his mane4 ,she is the huntress and student of wild life1 and her body is powerfully developed1 like an ,amazon's4 ,she is clad in the pelt of an animal1 the head forming her cap1 and in buskins of skin4 ,she stands on a rocky piece of ground1 like a desert4 ,the chief colors employed in the pendentive are the typical animal colors1 browns and yellows4 ,physics stands on an electric globe1 from which emanate rays of light4 ,she carries a torch in her left hand1 and she holds up an end of her drapery in her right in such a way that it seems to start from the flame and flow in sympathy with it over her whole body1 so that it conveys the idea of the unceasing motion of fire4 ,the same colors as those used in the pendentive of ,geology1 purple and orange1 are used here also1 but in this case standing1 of course1 for the colors of flame4 ,illustration3 ,,mathematics4 ,,by ,,walter ,,shirlaw ,mathematics1 the exact science1 is represented as almost entirely nude1--like 8the ,naked ,truth0 of ,mr4 ,walker's tympanum on the floor below4 ,her right foot is on a stone block inscribed with the conic sections1 and on a shield which she holds are various geometrical figures4 ,her scanty drapery is appropriately disposed in the severest lines4 ,geology1 a sculpturesque figure1 stands squarely and firmly upon a mountain top1 beyond which is seen the setting sun4 ,a fold of her drapery forms a receptacle for the specimens she has gathered4 ,in her left hand is a globe1 and in her right a fossil shell4 ,her hair is confined by a head-dress of bars of silver and gold4 ,the embroidered pattern of her garment has a suggestion of fossil forms and of the little lizards which are found among the rocks4 ,archology is clad in the ,roman costume1 and wears the helmet of ,minerva2 the helmet is wreathed with olive1 the emblem of peace1 which was sacred to ,minerva1 and is here used with special reference to the peaceful character of the science1 which can pursue its labors only in an orderly society4 ,the figure stands on a block of stone1 the surface of which is carved to represent a scroll1 the ancient form of book4 ,a vase1 copied from the manufacture of the ,zui ,indians of ,new ,mexico1 stands beside her4 ,in her right hand she holds a large book1 the pages of which she examines with the aid of a magnifying glass in order to spell out its half obliterated text4 ,around her neck is coiled a chameleon1 whose changing hues are intended to symbolize the varying nature of the theories she propounds4 ,the countenance of ,botany is expressive of a joyous sympathy with nature4 ,she stands on the pad of a water-lily1 engaged in analyzing its flower1 the long stem of which coils gracefully about her body to the water4 ,her drapery flows and breaks as a half-opened flower might arrange itself4 ,astronomy holds a lens1 such as is used in a telescope1 in her right hand1 and in her left the globe of ,saturn surrounded by its rings--selected as being perhaps the best known and most easily distinguished of all the planets4 ,she stands on the sphere of the earth1 beyond which1 to the left1 is the quarter moon4 ,the lines of her drapery with their slow curves are suggestive1 in a way1 of the orbits of the heavenly bodies4 ,they flow in long lines1 enveloping her figure in the strength which proceeds from complete harmony4 ,chemistry is shown with her left foot placed upon a piece of chemical apparatus and holding in her right hand a glass retort1 in which she is distilling a liquid4 ,the necessary heat1 manifested by the ascending vapor which curls about the vessel1 is from the mouth of the serpent--the emblem of fecundity and life1 breathing the element of life1 fire4 ,the serpent is coiled about an hour-glass1 which is significant of the exact measurement of time necessary in chemical experiments4 ,the face of the figure is more worn1 on account of the anxious nature of her employment1 than would comport with the character of an out-of-door science like ,botany or ,zology4 ,she is draped somewhat in the eastern manner1 like a sibyl1 thus recalling the occult character ascribed to the science during the ,middle ,ages--when it was called alchemy--and1 for that matter1 the marvellousness of its results in the laboratories of to-day4 ,a snake wound as a fillet about her hair still further emphasizes this mystic quality4 ,at either end of the corridor is a tablet bearing a list of names of men distinguished in the sciences which ,mr4 ,shirlaw has depicted2 at the north end3 ,cuvier1 the ,zologist2 ,linnus1 the ,botanist2 ,schliemann1 the ,archologist2 and ,copernicus1 the ,astronomer2 at the south end3 ,la ,grange1 the ,mathematician2 ,lavoisier1 the ,chemist2 ,rumford1 the ,physicist2 and ,lyell1 the ,geologist4 ,in the penetrations on either side of these two lists of names are the following appropriate inscriptions3-- ,the first creature of ,god was the light of sense2 the last was the light of reason4 ,bacon4 ,the ,light shineth in darkness1 and the darkness comprehendeth not4 ,john #a1 #e4 ,all are but parts of one stupendous whole1 ,whose body ,nature is1 and ,god the soul4 ,pope4 ,in nature all is useful1 all is beautiful4 ,emerson4 ,along the centre of the vault1 three medallions by ,mr4 ,william ,b4 ,van ,ingen represent respectively ,sculpture1 ,architecture1 and ,painting4 ,in each the art is represented by a female figure engaged either in chiselling the features of a bust 7that of ,washington71 drawing the plan of a building1 or painting at an easel4 ,illustration3 ,,touch4--,,by ,,robert ,,reid4 ,mr4 ,reid's ,paintings4--,passing to the ,north ,corridor1 the attention is at once attracted to the brilliant coloring of ,mr4 ,reid's decorations in the vault and along the north wall4 ,the former are five in number1 and represent the ,five ,senses4 ,they are octagonal in form1 measuring within an inch of six feet and a half across4 ,the order of the subjects1 beginning at the westerly end1 is ,taste1 ,sight1 ,smell1 ,hearing1 ,touch4 ,in each the sense suggested is represented by a beautiful young woman1 more of the modern than the antique type of beauty1 and clad in drapery which recalls contemporary fashions rather than the classic conventions which are usually followed by artists in their treatment of ideal subjects4 ,being painted upon a ceiling1 so that the visitor is required to look directly upward in order to study them1 the figures1 though1 in a sense1 represented as seated1 are rather to be imagined as poised in the air1 without any special reference to the law of gravitation4 ,they are shown as supported upon cloud-banks1 and the backgrounds of the panels are sky and clouds4 ,the suggestion of the subject is as simply as it is ingeniously and unconventionally conveyed4 ,a large portion of this suggestion must be looked for1 of course1 in the expression of the face and the attitude as well as in the action of the figures4 ,taste is shown drinking from a shell4 ,she is surrounded by foliage1 and a vine grows beside her laden with bunches of ripe grapes4 ,she wears flowers in her hair1 and the idea throughout may perhaps be taken as that of the autumnal feast of the wine-press4 ,sight is looking at her reflection in a handglass1 and smiling with pleasure at the evidence of her beauty4 ,a splendid peacock1 the emblem of beauty and pride in beauty1 is introduced beside her4 ,smell is represented seated beside a bank of lilies and roses4 ,from this mass of flowers she has selected a great white rose1 which she presses to her nose4 ,hearing holds a large sea-shell to her ear1 and dreamily listens to its roaring4 ,touch is delightedly observing a butterfly which has alighted on her bare outstretched arm--the touch of its tiny feet as it walks over her flesh imparting an unaccustomed sensation to her nerves4 ,a setter dog1 which she has just ceased from caressing1 lies asleep behind her4 ,mr4 ,reid's subjects in the four circular panels along the wall are entitled1 in order from left to right3 ,wisdom1 ,understanding1 ,knowledge1 and ,philosophy4 ,each is represented by a half-length seated female figure--more solidly painted1 but of much the same type as the figures representing ,the ,senses--holding a scroll1 book1 or tablet4 ,in the panel of ,philosophy1 a ,greek temple is seen in the background1 emblematic of the ,greek origin of philosophy4 ,illustration3 ,,hearing4--,,by ,,robert ,,reid4 ,alternating with ,mr4 ,reid's ceiling paintings1 is a series of rectangular panels1 in which are depicted1 in low tones of color and in a style somewhat suggestive of a classic bas-relief1 a number of ancient out-door athletic contests4 ,beginning at the west end of the vault1 the first of these represents a group of young men throwing the discus4 ,then come ,wrestling and ,running4 ,in the fourth panel1 the athletes are being rubbed down by attendants1 to clear them of the sweat and heat of the conflict2 and in the fifth1 the successful contestants are kneeling to receive the crown of victory at the hands of a woman seated on a dais4 ,the last picture represents the return home1 a tripping company of youths and maidens crowned with garlands4 ,the visitor will remember what was said concerning the special enrichment of the penetrations in the side corridors for the sake of compensating in a way for the absence of such decorations as ,mr4 ,shirlaw's in the pendentives4 ,in the present instance1 this enrichment takes the form of dragons and swans1 which serve as 8supporters0 of the panels containing the printers' marks4 ,in the pendentives1 tablets for inscriptions alternate with medallions containing trophies of various trades and sciences4 ,the list of the latter1 beginning at the left over the north wall1 is as follows3 ,geometry1 represented by a compass1 a protractor1 and a scroll1 cone1 and cylinder2 ,meteorology1 the barometer1 thermometer1 and anemometer2 ,forestry1 a growing tree1 and an axe and pruning-knife2 ,navigation1 the chronometer1 log1 rope1 rudder1 and compass2 ,mechanics1 the lever1 wedge1 and pulley-block2 and ,transportation1 with a piston1 propeller1 driving-wheel1 and locomotive head-light4 ,the inscriptions are from ,adelaide ,a4 ,procter's poem1 ,unexpressed1 and are as follows3-- ,dwells within the soul of every ,artist ,more than all his effort can express4 ,no great ,thinker ever lived and taught you ,all the wonder that his soul received4 ,no true painter ever set on canvas ,all the glorious vision he conceived4 ,no musician4444 ,but be sure he heard1 and strove to render1 ,feeble echoes of celestial strains4 ,love and ,art united ,are twin mysteries1 different yet the same4 ,love may strive1 but vain is the endeavor ,all its boundless riches to unfold4 ,art and ,love speak2 and their words must be ,like sighings of illimitable forests4 ,the only other decoration which there is space to mention is the broad1 semicircular border which follows the line of the vault on the wall at either end of the corridor4 ,at the east end1 this border is ornamented with a bright-colored arabesque1 mainly in violet and greens1 with a medallion in the centre bearing a map of the ,western ,hemisphere4 ,at the west end1 the border is plainer1 with five semicircular or circular tablets1 two of which are ornamented with the obverse and reverse respectively of the ,great ,seal of the ,united ,states4 ,the other three carry the following inscriptions3-- ,order is ,heaven's first law4 ,pope4 ,memory is the treasurer and guardian of all things4 ,cicero4 ,beauty is the creator of the universe4 ,emerson4 ,mr4 ,barse's ,paintings4--,in the ,east ,corridor1 the pendentive figures of ,mr4 ,barse represent1 beginning on the east side1 at the north end3 ,lyric ,poetry 7entitled by the artist1 ,lyrica71 ,tragedy1 ,comedy1 and ,history2 and on the west1 again beginning at the north1 ,love ,poetry 7,erotica71 ,tradition1 ,fancy1 and ,romance4 ,the subject of the entire series1 therefore1 may be called simply ,literature4 ,the figures1 as the visitor will perceive1 need but little explanation4 ,all are those of women clad in graceful1 classic robes1 represented throughout as seated1 and depicted with little attempt at dramatic expression or action4 ,lyric ,poetry is playing on the lyre4 ,tragedy and ,comedy have a tragic and comic mask respectively1 and ,comedy a tambourine4 ,history has a scroll and palm-branch1 and an ancient book-box for scrolls1 such as was used by the ,romans1 is set at her feet4 ,romance has a pen and a scroll4 ,fancy clasps her hands1 and gazes upward with a rapt expression on her face4 ,tradition wears the gis1 and holds a statue of the winged goddess of ,victory in her hand--both introduced as symbols of antiquity4 ,erotica is writing on a tablet4 ,along the centre of the vault1 occupying a similar position to the medallions in the opposite corridor1 is another series of three paintings1 executed by ,mr4 ,william ,a4 ,mackay1 which represent ,the ,life of ,man4 ,one will best understand the meaning of the paintings by first reading the inscriptions which are placed immediately above and below each medallion4 ,on one side they refer to the ancient allegory of the ,three ,fates1 ,clotho1 ,lachesis1 and ,atropos--the first of whom spun1 the second wove1 and the third cut1 the ,thread of ,life--and are as follows3-- ,for a web begun ,god sends thread4 ,old ,proverb4 ,the web of life 444 is of a mingled yarn1 good and ill together4 ,all's ,well that ,ends ,well4 ,comes the blind ,fury with th' abhorred shears ,and slits the thin-spun life4 ,milton4 ,on the other side the inscriptions1 which compare the life of a man to the life of a tree1 are taken from ,cardinal ,wolsey's speech in ,henry ,,viii3-- ,this is the state of man3 to-day he puts forth ,the tender leaves of hopes4 ,to-morrow blossoms4 ,and bears his blushing honors thick upon him4 ,the third day comes a frost1 444 ,and 444 nips his root1 ,and then he falls4 ,accordingly1 in the present series1 the first medallion shows a woman 7,clotho7 with her distaff and a baby lying in her lap4 ,the sun is rising above the horizon1 a sapling begins to put out its branches1 and near by is a little spring4 ,in the next picture1 ,lachesis has a loom and shuttle4 ,the spring has grown into a river1 and the mature man bears in his hand a basket of fruit gathered from the abundance of the full-grown tree1 while the sun in the heavens marks the high noon of life4 ,in the last medallion the sun is setting1 the tree has fallen in ruin on the ground1 and the stream has dried up4 ,the man1 grown old and crippled1 faints by the roadside1 and ,atropos opens her fatal shears to sever the thread of his existence4 ,at each end of the corridor is a tablet containing the names of eminent ,american printers1 and men who have contributed to the improvement of ,american printing machinery4 ,at the north these names are3 ,green1 ,daye1 ,franklin1 ,thomas1 ,bradford2 and at the south1 ,clymer1 ,adams1 ,gordon1 ,hoe1 ,bruce4 ,mr4 ,benson's ,paintings4--,mr4 ,benson's decorations in the vault of the ,south ,corridor and along the wall below are of the same size and shape as those of ,mr4 ,reid in the ,north ,corridor4 ,the arabesque ornament of the ceiling is so arranged1 however1 as to allow space for only three instead of five of these hexagonal panels4 ,the subject of the paintings they contain is ,the ,graces--,aglaia 7at the east71 ,thalia 7in the centre7 and ,euphrosyne 7at the north74 ,illustration3 ,,comedy4 ,,by ,,george ,r4 ,,barsh1 ,,jr4 ,the three figures are almost invariably represented in a group1 in both ancient and modern art4 ,taken together1 they stand1 of course1 for beauty and graciousness1 and typify1 also1 the agreeable arts and occupations4 ,in separating them1 ,mr4 ,benson has considered ,aglaia as the patroness of ,husbandry2 ,thalia as representing ,music2 and ,euphrosyne1 ,beauty4 ,the first1 therefore1 has a shepherd's crook1 the second a lyre1 and the last is looking at her reflection in a hand-mirror4 ,all are shown sitting in the midst of a pleasant summer landscape1 with trees and water and fertile meadows4 ,for the four circular panels ,mr4 ,benson has chosen as his subject ,the ,seasons4 ,each is represented by a beautiful half-length figure of a young woman1 with no attempt1 however1 at any elaborate symbolism to distinguish the season which she typifies4 ,such distinction as the painter has chosen to indicate is to be sought rather in the character of the faces1 or in the warmer or colder coloring of the whole panel--in a word1 in the general artistic treatment4 ,at either end of the vault is a rectangular panel painted in the same style as those depicting the ancient games in the ,north ,corridor1 but in this case representing the modern sports of ,football and ,baseball4 ,the former1 occurring at the east end of the vault1 is a more or less realistic picture of a 8scrimmage40 ,the latter is more conventionalized1 showing single figures1 like the pitcher and catcher1 in the attitude of play1 and others with bats1 masks1 and gloves4 ,instead of the swans and dragons of the ,north ,corridor1 the printers' marks in the penetrations of the present corridor are supported between the figures of mermen and fauns1 and mermaids and nymphs1 the male figures1 with their suggestion of greater decorative strength1 occurring at the ends of the corridor1 and the nymphs and mermaids alternating between4 ,altogether there are thirty-two figures1 each painted by ,mr4 ,frederick ,c4 ,martin4 ,on the pendentives1 the series of trophies begun in the ,north ,corridor is continued1 giving place1 as before1 in every other pendentive1 to a tablet bearing an inscription4 ,beginning on the south side1 at the east end1 the trophies are as follows3 ,printing1 with a stick1 inking-ball1 and type-case2 ,pottery1 three jugs of different kinds of clay2 ,glass-making1 three glass vases of different shapes2 ,carpentry1 a saw1 bit1 hammer1 and right angle2 ,smithery1 the anvil1 pincers1 hammer1 bolt1 and nut2 ,masonry1 a trowel1 square1 plumb1 and mortar-board4 ,the following are the eight inscriptions3-- ,studies perfect nature and are perfected by experience4 ,bacon4 ,dreams1 books1 are each a world2 and books1 we know1 ,are a substantial world1 both pure and good4 ,wordsworth4 ,learning is but an adjunct to ourself4 ,love's ,labor's ,lost4 ,a little learning is a dangerous thing2 ,drink deep1 or taste not the ,pierian spring4 ,pope4 ,the universal cause ,acts to one end1 but acts by various laws4 ,pope4 ,vain1 very vain1 the weary search to find ,that bliss which only centres in the mind4 ,goldsmith4 ,creation's heir1 the world1 the world is mine6 ,goldsmith4 ,the fault 444 is not in our stars1 ,but in ourselves1 that we are underlings4 ,shakespeare 7,julius ,csar74 ,the semicircular borders at either end are practically the same in color and design as in the ,north ,corridor4 ,at the east end1 the ,eastern is substituted for the ,western ,hemisphere1 and at the west end1 a caduceus and a lictor's axe for the ,united ,states ,seal4 ,the accompanying inscriptions are as follows3 ,man raises but time weighs4 ,modern ,greek ,proverb4 ,beneath the rule of men entirely great1 ,the pen is mightier than the sword4 ,bulwer ,lytton4 ,the noblest motive is the public good4 ,virgil4 ,the ,decoration of the ,walls4--,the decoration of the vaults of the four corridors is distinctly ,renaissance in character2 the walls beneath1 however1 are colored and decorated in accordance with a ,pompeiian motive4 ,it may seem at first thought illogical thus to join two styles so remote from each other in point of time1 but it must be remembered that1 in both art and literature1 the ,renaissance was literally1 as has been pointed out1 the new birth of ,greek and ,roman forms1 in the course of which the ,italian painters adapted to their use and subdued to their style the sort of wall decoration which we know as ,pompeiian1 from the discovery of so many examples of it in the excavations at ,pompeii4 ,the two styles1 as used in conjunction in the ,library of ,congress1 not only in these corridors but throughout the building1 are perfectly harmonious in color and design2 from the explanation just given the visitor will see that they have long ago been brought into a historical unity as well1 through the conventions established by the great and authoritative school of the ,renaissance artists4 ,illustration3 ,,aglaia4--,,by ,f4 ,w4 ,,benson4 ,mr4 ,maynard's ,pompeiian ,panels4--,the frequent occurrence of windows1 doors1 and pilasters cuts the wall into narrow spaces1 which1 at the north and south1 are colored a plain olive1 and at the east and west the familiar rich ,pompeiian red1 ornamented with simple arabesques and1 at the ends1 with female figures representing ,the ,virtues1 by ,mr4 ,george ,willoughby ,maynard4 ,there are eight of these figures in all1 two in each corner of the hall4 ,each figure is about five and a half feet high1 clad in floating classic drapery1 and represented to the spectator as appearing before him in the air1 without a support or background other than the deep red of the wall4 ,the style of the paintings is ,pompeiian2 the general tone is somewhat like that of marble1 although touched with color so as to remove any comparison with the marble framing4 ,beginning at the left in each case1 the names and order of the ,virtues are as follows3 ,at the northeast corner1 ,fortitude and ,justice2 at the southeast corner1 ,patriotism and ,courage2 at the southwest corner1 ,temperance and ,prudence2 at the northwest corner1 ,industry and ,concord4 ,the number of virtues to be represented was determined beforehand1 of course1 by the number of spaces at the disposal of the painter4 ,the selection1 therefore1 was necessarily somewhat arbitrary4 ,each figure is shown with certain characteristic attributes4 ,in the case of ,industry1 ,courage1 and ,patriotism1 ,mr4 ,maynard has himself selected these attributes2 in the other five figures he has followed the usual conventions4 ,illustration3 ,,spring4--,,by ,f4 ,w4 ,,benson4 ,fortitude is shown fully armed--the mace in her right hand and the buckler on her arm1 and protected by cuirass1 casque1 and greaves4 ,she is thus represented as ready for any emergency--living in continual expectation of danger1 and constantly prepared to meet it4 ,justice holds the globe in her right hand1 signifying the extent of her sway4 ,she holds a naked sword upright1 signifying the terribleness of her punishment4 ,patriotism is feeding an eagle1 the emblem of ,america1 from a golden bowl--an action which symbolizes the high nourishment with which the ,virtue sustains the spirit of the country4 ,courage is represented as armed hastily with the buckler1 casque1 and sword--not1 like ,fortitude1 continually on guard1 but snatching up her arms in the presence of an unforeseen danger4 ,temperance--figured as the classic rather than the modern virtue--holds an antique pitcher in her right hand1 from which a stream of some liquor1 whether wine or water1 descends into the bowl she holds in her left4 ,her buoyancy and air of health betoken her moderation of living4 ,prudence looks in a hand-glass to discover any danger which may assail her from behind4 ,in her right hand she holds a serpent--the emblem of wisdom4 ,industry draws the flax from a distaff1 the end of which is stuck in her girdle1 and twists it into thread1 to be wound upon the spindle which hangs at her side4 ,concord--the ,roman goddess ,concordia--illustrates the blessings of peace4 ,in her right hand she bears an olive-branch1 and in her left she carries a cornucopia filled with wheat4 ,the ,inscriptions along the ,walls4--,before taking leave of the corridors of the ,entrance ,hall1 one more feature of the decoration requires notice1 namely the twenty-nine inscriptions occupying the gilt tablets below the stucco frames which surround the circular windows and the wall-paintings of ,mr4 ,benson and ,mr4 ,reid4 ,they are as follows3-- ,too low they build who build beneath the stars4 ,young4 ,there is but one temple in the ,universe and that is the ,body of ,man4 ,novalis4 ,beholding the bright countenance of ,truth in the quiet and still air of delightful studies4 ,milton4 ,the true university of these days is a collection of books4 ,carlyle4 ,nature is the art of ,god4 ,sir ,thomas ,browne4 ,there is no work of genius which has not been the delight of mankind4 ,lowell4 ,it is the mind that makes the man1 and our vigor is in our immortal soul4 ,ovid4 ,they are never alone that are accompanied by noble thoughts4 ,sidney4 ,man is one world and has ,another to attend him4 ,herbert4 ,tongues in trees1 books in the running brooks1 ,sermons in stones1 and good in everything4 ,as ,you ,like ,it4 ,the true ,shekinah is man4 ,chrysostom4 ,only the actions of the just ,smell sweet and blossom in the dust4 ,shirley4 ,art is long1 and ,time is fleeting4 ,longfellow4 ,the history of the world is the biography of great men4 ,carlyle4 ,books will speak plain when counsellors blanch4 ,bacon4 ,glory is acquired by virtue but preserved by letters4 ,petrarch4 ,the foundation of every state is the education of its youth4 ,dionysius4 ,the chief glory of every people arises from its authors4 ,dr4 ,johnson4 ,there is only one good1 namely knowledge1 and one only evil1 namely ignorance4 ,diogenes ,laertius4 ,knowledge comes1 but wisdom lingers4 ,tennyson4 ,wisdom is the principal thing2 therefore get wisdom3 and with all thy getting get understanding4 ,proverbs iv1 #g4 ,ignorance is the curse of ,god1 ,knowledge the wing wherewith we fly to heaven4 #b ,henry ,,iv4 ,how charming is divine ,philosophy6 ,milton4 ,books must follow sciences and not sciences books4 ,bacon4 ,in books lies the ,soul of the whole past time4 ,carlyle4 ,words are also actions and actions are a kind of words4 ,emerson4 ,reading maketh a full man1 conference a ready man1 and writing an exact man4 ,bacon4 ,science is organized knowledge4 ,herbert ,spencer4 ,beauty is truth1 truth beauty4 ,keats4 ,,the ,,entrance ,,to ,,the ,,rotunda4 ,the vaulting of the broad passageway leading to the ,reading ,room consists of a series of six small domes1 the ornamentation of which is similar1 in its more modest way1 to that of the vaulted corridors which the visitor has just left4 ,the colors are light and bright1 and the three different patterns employed consist mainly of garlands and ribbons1 and of simple bands of color radiating from a central medallion4 ,swans1 eagles1 or owls are introduced both in the domes and as the ornament of the pendentives1 and eagles occur between the double consoles which receive the weight of the domes upon the east wall4 ,in the medallions just referred to are various objects symbolizing the ,fine ,arts--tragic and comic masks1 for ,acting2 a lyre1 for ,music2 a block of marble1 half shaped into a bust1 and sculptors' tools1 for ,sculpture2 a lamp1 scrolls1 and an open book1 for ,literature2 and the capital of an ,ionic column1 a triangle1 and some sheets of parchment1 for ,architecture4 ,illustration3 ,,justice4 ,,by ,,george ,w4 ,,maynard4 ,the trophies of ,sculpture and ,architecture1 it should be added1 are accompanied by appropriate names--comprising those of cities1 statues1 and buildings--inscribed both in the arabesques and in the pendentives of certain of the domes4 ,for ,architecture1 the buildings commemorated are the ,colosseum1 the ,taj ,mahal1 the ,parthenon1 and the ,pyramids2 while the cities are those with whose fame these four great monuments are connected--,rome1 ,agra1 ,athens1 and ,gizeh4 ,the sculptures are the ,farnese ,bull1 the ,laocon1 the ,niobe1 and the ,parthenon ,pediment1 and in the bordering arabesques are the names of the four divinities often taken as the subject of ancient statuary--,venus1 ,apollo1 ,hercules1 and ,zeus4 ,mr4 ,van ,ingen's ,paintings4--,in the centre of the passage a marble staircase1 dividing to the right and left at a landing halfway up1 leads to the gallery of the ,reading ,room4 ,beneath1 on either side1 is a little bay1 giving access to the elevators4 ,in the decoration of the ceiling the effect aimed at is that of an arbor1 with a vine1 climbing over a trellis1 painted against a sunny yellow background4 ,each contains a small tympanum1 in which ,mr4 ,van ,ingen has suggested the subjects of ,milton's well-known companion poems1 ,l',allegro and ,il ,penseroso--,mirth1 and ,melancholy or ,thoughtfulness4 ,the decorations are not illustrations1 as the word is usually understood1 like some of ,mr4 ,walker's panels1 already described2 they have no reference to any particular scene or incident in the poems1 but are intended as an interpretation of their general spirit and meaning4 ,in the first1 ,il ,penseroso1 the time of year is autumn2 in the other it is spring4 ,similarly1 in ,l',allegro the landscape is shown in morning light1 while in ,il ,penseroso the time is evening4 ,the latter panel is in the bay to the north of the staircase4 ,a single figure1 that of a beautiful woman with dark hair and soft1 pensive eyes1 is shown at half length1 leaning her head upon her hand in an attitude and with an expression of deep contemplation4 ,l',allegro is represented by a young woman1 light-haired and sparkling with laughter1 who is playing under the trees with two little children4 ,in the pendentives of the bays are inscribed portions of the two poems illustrated4 ,the lines from ,l',allegro are as follows3-- 444 ,come1 thou ,goddess fair and free1 ,in heaven yclept ,euphrosyne1 ,and by men heart-easing ,mirth2 99 99 99 99 99 ,haste thee1 ,nymph1 and bring with thee ,jest1 and youthful ,jollity1 ,quips and cranks and wanton wiles1 ,nods and becks and wreathd smiles1 ,such as hang on ,hebe's cheek1 ,and love to live in dimple sleek4 ,the lines from ,il ,penseroso are3-- ,hail6 thou ,goddess1 sage and holy6 ,hail1 divinest ,melancholy6 99 99 99 99 99 ,come2 but keep thy wonted state1 ,with even step1 and musing gait1 ,and looks commercing with the skies1 ,thy rapt soul sitting in thine eyes3 ,there1 held in holy passion still1 ,forget thyself to marble4444 ,illustration3 ,,fortitude4 ,,by ,,george ,w4 ,,maynard4 ,mr4 ,vedder's ,mosaic ,decoration4--,the wall of the landing of the staircase is occupied by an arched panel1 fifteen and a half feet high and nine feet wide1 containing a marble mosaic by ,mr4 ,elihu ,vedder4#h ,the artist has chosen for his subject ,minerva1 her armor partly laid aside1 appearing as the guardian of civilization4 ,she is the ,minerva of ,peace1 but ,mr4 ,vedder indicates that the prosperity which she now cherishes has been attained only through just and righteous war1 whether waged against a foreign enemy or against the forces of disorder and corruption within4 ,beside her is a little statue of ,victory1 such as the ,greeks were accustomed to erect in commemoration of their success in battle4 ,the figure is that of a winged woman standing on a globe1 and holding out the laurel-wreath and palm-branch to the victors4 ,in the sky the clouds of disaster and discouragement are rolled away and about to disappear1 while the sun of reappearing prosperity sends its rays into every quarter of the land4 ,although her shield and helmet have been laid upon the ground1 the ,goddess still retains the gis1 and holds1 in one hand1 like a staff1 her long1 two-headed spear1 showing that she never relaxes her vigilance against the enemies of the country which she protects4 ,for the present1 however1 her attention is all directed to an unfolded scroll which she holds in her left hand4 ,on this is written a list of various departments of learning1 science1 and art1 such as ,law1 ,statistics1 ,sociology1 ,botany1 ,bibliography1 ,mechanics1 ,philosophy1 ,zology1 etc4 ,to the left of ,minerva is the owl1 perched upon the post of a low parapet4 ,olive trees1 symbolizing peace1 grow in the field beyond4 ,the armor of the ,goddess is carefully studied from ancient sculptures4 ,the character of the gis can here be more easily made out than in any of the other representations of ,minerva to be found in the building4 ,traditionally a cape of goat-skin1 the ,greek artists finally came to overlay it with metal scales1 like scale-armor4 ,the border is composed of twisting serpents4 ,the head of the ,gorgon ,medusa1 which forms the central ornament1 is used also as the decoration of the large shield lying in the foreground of the picture4 ,the helmet is decorated with a pair of rams' heads4 ,mr4 ,vedder's whole design is surrounded by a border containing1 on either side1 a conventionalized laurel-tree displayed like a vine4 ,illustration3 ,l',,allegro4--,,by ,w4 ,b4 ,,van ,,ingen4 ,,the ,,rotunda4 ,entering by either of the doors at the head of the staircase1 the visitor at once steps out upon an embayed gallery1 affording a spacious and uninterrupted view of the great domed ,reading ,room1 or ,rotunda1 which1 in every sense1 is the central and most important portion of the ,library4 ,as such1 it is marked by a magnificence of architecture and decoration nowhere else to be found in the building4 ,outside1 from whatever direction one approaches1 the gilded dome which forms its outer shell is the first thing to catch the eye2 and the golden flame of the torch which surmounts the lantern indicates to the passer-by at once the central and the highest point of the whole structure4 ,within1 richer materials have been used1 and decoration has been more freely employed than in any other part of the ,library4 ,sculpture and paintings1 rare marbles1 and a broad scheme of color and of ornamentation in stucco relief unite with a lofty architectural design to form what is one of the most notable interiors in the country4 ,the ,importance of the ,rotunda4--,the detailed description of the ,rotunda may be deferred a little1 however1 in order to explain its relation to the rest of the building1 and1 especially1 the reason for its central position4 ,besides accumulating books and providing the student with proper accommodations for his work--such as good light and convenient chairs and tables--it is the business of every well managed library to supply its readers with the books they desire in the shortest possible time and with the least possible amount of friction4 ,a well digested catalogue is the first requisite2 the second is that the books should be stored in a place as closely accessible to the reading room as may be4 ,in a small library this is a simple matter2 the same room will be sufficient for both books and readers4 ,when the number of volumes increases it is necessary to shelve them in a compact system of bookcases called a 8stack0--or1 as in the ,library of ,congress1 in a series of stacks--which must occupy a portion of the building by itself4 ,the reading room and the stacks being thus separated1 it is still the aim of the architect to place them in such a way as to retain as far as possible the practical convenience of the smaller library1 where every reader is almost within reaching distance of every book4 ,this end is most easily attained by adopting what is called the 8central system0 of library construction1 which is the system followed in the ,library of ,congress4 ,it has already been seen that the building is in the form of a cross enclosed within a rectangle1 thus allowing space for four courts for light and air4 ,at the intersections of the arms of the cross is the ,rotunda1 the main entrance to which is through the west arm of the cross4 ,the other three arms are occupied by the stacks2 the ,east ,stack1 directly opposite1 is the second short arm2 the ,north and ,south ,stacks1 each the same length1 are the two long arms4 ,it is obvious that by this arrangement the books can be more easily reached than in any other way4 ,the axes of the stacks are continued radii of the ,rotunda1 and1 so far as the ground plan is concerned1 the shortest way from any part of the cross to the ,distributing ,desk which the visitor sees below in the centre of the room is always along a straight line4 ,this ,distributing ,desk1 of course1 being in the exact centre of everything1 is the vital point1 the kernel1 of the whole arrangement4 ,no part of the stack1 it will be noted1 is far enough away from it to delay the transmission of a book unreasonably1 as might very well be the case if the three stacks were in one4 ,moreover1 by the use of a mechanical contrivance1 which will be explained later1 even this distance is in effect very greatly reduced4 ,illustration3 ,,the ,,gallery ,,of ,,the ,,rotunda4 ,,showing ,,the ,,statues ,,of ,,herodotus ,,and ,,beethoven4 ,another thing may well be noted in this connection although it has already been referred to in the preliminary description of the building--and that is1 the comparative unimportance1 from the standpoint of the real requirements of the ,library1 of the great ,rectangle which encloses the stacks and the ,rotunda1 and necessarily appears from the street to be the main portion of the building4 ,it contains rooms which1 at present1 are very convenient for clerical work or as art galleries and special reading rooms1 and which may in time be necessary to accommodate an overflow of books2 but it must steadily be borne in mind that the ,rotunda and the stacks contain the real life of the institution4 ,they are the only really essential and vital portion of the building2 without them1 there could hardly be a library2 and by themselves they would be sufficient for almost every present need4 ,the ,general ,arrangement4--,the character of the ,rotunda is warm and rich in ornament as befits a room where people remain to read4 ,it is naturally not so formal as the ,rotunda of the ,capitol4 ,the height of the room from the floor to the top of the dome1 where it converges upon the lantern1 is one hundred and twenty-five feet1 and from the floor to the crown of the domed ceiling of the lantern itself1 one hundred and sixty feet4 ,this latter point1 however1 is quite shut off from the view of a person standing in the gallery and can be seen only from a position near the centre of the room4 ,the ground plan of the room is octagonal in shape1 measuring one hundred feet from one side to another4 ,eight massive clustered piers1 each set some ten feet forward from a corner of the octagon1 support a series of heavy arches running entirely round the room4 ,these piers serve1 as it were1 to stake out the limit of the ,reading ,room proper2 between them are marble screens arcaded in two stories1 and behind they are connected with the outer wall by partitions which divide the octagon into eight bays or alcoves1 each fourteen feet deep and thirty wide4 ,in each alcove1 at the height of the screen1 is a gallery like that which the visitor has already entered1 one connecting with another1 through doors pierced in the partition walls1 so as to form a continuous promenade--as it may be called1 considering its purpose--in which the sightseer may walk without fear of disturbing the readers below4 ,illustration3 ,,law4 ,,by ,,paul ,w4 ,,bartlett4 ,the alcoves are arched and enclose great semi-circular windows filled with stained glass1 which furnish the greater part of the light needed for the room4 ,the arches springing from the piers support a heavy circular entablature1 immediately above which is the dome1 arched in the line of an exact circle and supported upon eight ribs dividing it into eight sections or compartments4 ,the ribs are the essential feature of the dome construction1 and continue naturally the line of support of the great piers which are the ultimate support of the whole interior--a fact which is more clearly brought out to the eye by paired consoles or brackets introduced in the entablature between the two and seeming to carry the weight from one to the other4 ,the surface of the dome is of stucco1 attached to a framework of iron and steel filled in with terra cotta1 and richly ornamented with coffers and with a very elaborate arabesque of figures in relief4 ,at the top1 where the dome prepares to join the lantern1 the ribs terminate against a broad circular 8collar10 so called1 containing a painted decoration by ,mr4 ,edwin ,howland ,blashfield4 ,finally comes the lantern1 thirty-five feet in height1 and pierced by eight windows1 recalling the octagonal arrangement with which the construction began4 ,the shallow dome which covers the lantern is ornamented with a second painting by ,mr4 ,blashfield1 summing up the idea of his decoration in the collar4 ,at the risk of some tediousness1 perhaps1 but thinking that afterwards the connection between the decoration and the architecture would be more clearly understood1 the writer has given this general description of the ,rotunda1 in order that the visitor might immediately see what portion of the whole was essential and what not essential2 what was 8structural0 and vital1 in other words1 and what not4 ,it will have been observed that we have1 on the outside1 an octagon supporting a shallow dome1 on which rests the lantern4 ,well within this is an octagonal arrangement of piers carrying a much steeper dome4 ,alcoves occupy the space between the inner and outer octagons4 ,between the two domes--the inner shell and the outer--is vacancy4 ,the whole exterior--walls1 dome1 and lantern--the partitions back of the piers1 and the connecting screens3 all could be torn away and the inner dome still remain secure on its eight massive piers4 ,illustration3 ,,commerce4 ,,by ,,john ,,flanagan4 ,the piers are constructed of brick1 veneered with marble from ,numidia in ,africa1 curiously mottled and in color a sort of dusky red4 ,the high base on which the pier rests is sheathed with a chocolate brown variety of the familiar close-grained ,tennessee marble4 ,the height of the piers1 including base and capital1 is forty-four feet4 ,the screens are built solidly of marble from ,sienna1 ,italy1 which encloses in its rich black veining almost every variety of yellow1 from cream color to dark topaz4 ,like the piers1 the screens are erected upon a ,tennessee marble base1 in this case1 however1 very much lower--four feet to the other's eleven4 ,the arcading of the screens is in two stories1 the first of three and the second of seven arches4 ,at the top of each screen the gallery is railed in by a heavy balustrade--still of the same ,sienna marble--connected with which are two marble pedestals which bear bronze statues of illustrious men4 ,the screens are alike on every side of the octagon but two1 the west and the east--the former the entrance from the ,staircase ,hall1 and the latter affording a way through to the east side of the building4 ,in both instances1 therefore1 the central arch is accentuated by free standing columns4 ,in the second story of the west screen1 also1 still another modification has been made in order to allow space for a large clock--the three middle arches giving place to a rich architectural setting ornamented with bronze statuary4 ,the ,alcoves4--,the alcoves behind the screens are in two stories1 like the arcading1 and are intended to contain a collection of the most necessary standard books on all important topics4 ,the entrance from the floor of the ,reading ,room is through the central arch of the screen4 ,one may pass through doors in the partitions from one alcove to another1 on either floor2 and by means of a winding staircase inside each of the piers one may go up or down1 not only from story to story1 but1 on the one hand1 into the basement below1 and1 on the other1 to the space between the inner and the outer dome above4 ,altogether1 the alcoves have a capacity1 with their present shelving1 of #acj1jjj volumes4 ,the cases are of iron1 and similar in a general way to those in the large stacks1 to be described later2 but they are built against the walls1 according to the older method of library arrangement1 and with very little attempt to combine them in a real stack system1 properly so called4 ,the upper shelves in the lower story are reached from a small iron gallery2 in the second story a step-ladder must be used--the only instance in the whole building where a book-shelf cannot be reached by a person standing on the floor4 ,illustration3 ,,philosophy4 ,,by ,,bela ,l4 ,,pratt4 ,in front of each of the great piers of the ,rotunda is an engaged column1 so called because it is not quite clear of the mass behind it1 which serves as the ultimate support of a statue placed between the arches upholding the dome4 ,in height1 base1 and capital1 it is the same as the pier with which it is connected1 and1 like it1 is sheathed in ,numidian marble1 but not so dark in tone1 since the burden resting on the column includes no part of the dome1 and is therefore much lighter than that borne by the pier4 ,the engaged columns1 however1 join with the piers to carry an elaborate entablature some seven feet in height1 which1 finding its way in and out of the alcoves from pier to pier1 completely encompasses the room4 ,the color of the entablature1 which is entirely of stucco1 is a cream or ivory white1 like the dome1 touched sparingly with gold4 ,the mouldings1 which are of the usual ,greek patterns employed in ,renaissance architecture1 are very rich and heavy4 ,the topmost member of the cornice is boldly projected upon a series of modillions1 the soffits between being ornamented with rosetted coffers--gilt on a blue ground4 ,the frieze is enriched with an arabesque of ,renaissance ornament in relief1 including antique urns and lamps2 garlands enclosing tablets2 and winged half-figures4 ,the general design of the frieze1 as of all such work in the ,library1 is by ,mr4 ,casey as architect2 the individual figures1 however1 were modelled by ,mr4 ,weinert4 ,the ,symbolical ,statues4--,the eight statues set upon the entablature over the engaged columns represent eight characteristic features of civilized life and thought4 ,from the floor to the plinth or base on which they stand is a distance of fifty-eight feet2 each is ten and a half feet1 or1 including the plinth1 eleven feet high4 ,all are of plaster1 toned an ivory white to match the general tone of the stucco decoration throughout the room1 and are effectively placed against the plain red pendentives of the dome as a background4 ,the title of each is inscribed in gilt letters in a tablet in the frieze below4 ,beginning with the figure directly to the right as one enters the west gallery of the ,rotunda1 the order is as follows3 ,religion1 modelled by ,mr4 ,theodore ,baur2 ,commerce1 by ,mr4 ,john ,flanagan2 ,history1 by ,mr4 ,daniel ,c4 ,french2 ,art1 by a ,french artist1 ,mr4 ,dozzi1 after sketches by ,mr4 ,augustus ,st4 ,gaudens2 ,philosophy1 by ,mr4 ,bela ,l4 ,pratt1 who modelled the granite spandrels of the ,main ,entrance2 ,poetry1 by ,mr4 ,j4 ,q4 ,a4 ,ward2 ,law1 by ,mr4 ,paul ,w4 ,bartlett2 and ,science1 by ,mr4 ,john ,donoghue4 ,illustration3 ,,shakespeare4 ,,by ,,frederick ,,macmonnies4 ,nearly all bear some appropriate and distinguishing object4 ,religion holds a flower in her hand1 seeming to draw from it the lesson of a ,god revealed in ,nature4 ,commerce1 crowned with a wreath of the peaceful olive1 holds in her right hand a model of a ,yankee schooner1 and in her left a miniature locomotive4 ,history has a book in her hand1 and with an obvious symbolism holds up a hand-glass so that it will reflect things behind her4 ,art is unlike the other figures in being represented as nearly nude4 ,she is crowned with laurel1 and bears a model of the ,parthenon4 ,beside her is a low tree1 in the branches of which are hung a sculptor's mallet and the palette and brush of the painter4 ,philosophy is a grave figure with downcast eyes1 carrying a book in her hand4 ,the garment of ,poetry falls in severe lines1 which suggest the epic and the more serious forms of the drama1 rather than the lighter aspects of the ,muse4 ,law has a scroll in her hand2 a fold of her robe is drawn over her head to signify the solemnity of her mission2 and beside her is the stone ,tablet of the ,law4 ,science holds in her left hand a globe of the earth1 surmounted by a triangle4 ,in her right hand is a mirror1 not1 like ,history's1 turned backward1 but held forward so that all may perceive the image of ,truth4 ,above each statue the pendentive of the dome is occupied by a group in plaster1 sculptured by ,mr4 ,martiny1 consisting of two winged geniuses1 modelled as if half flying1 half supported on the curve of the arches1 and holding between them a large tablet carrying an inscription in gilt letters4 ,above the tablet is a pair of crossed palm-branches 7meaning peace71 and below are the lamp and open book symbolical of learning1 these last being surrounded by an oak-wreath1 typifying strength--the whole group thus signifying the power and beneficence of wisdom4 ,the inscriptions were selected by ,president ,eliot of ,harvard ,university1 who several years before had furnished the memorable sentences carved upon the ,water ,gate at the ,world's ,fair in ,chicago4 ,each is appropriate to the subject of the statue below it4 ,thus1 above the figure of ,religion are the words3-- ,what doth the ,lord require of thee1 but to do justly1 and to love mercy1 and to walk humbly with thy ,god8 ,micah vi1 #h4 ,above the figure of ,commerce3-- ,we taste the spices of ,arabia yet never feel the scorching sun which brings them forth4 ,anonymous4#i ,above the figure of ,history3-- ,one ,god1 one law1 one element1 ,and one far-off divine event1 ,to which the whole creation moves4 ,tennyson4 ,above the figure of ,art3-- ,as one lamp lights another1 nor grows less1 ,so nobleness enkindleth nobleness4 ,lowell4 ,above the figure of ,philosophy3-- ,the inquiry1 knowledge1 and belief of truth is the sovereign good of human nature4 ,bacon4 ,above the figure of ,poetry3-- ,hither1 as to their fountain1 other stars ,repairing1 in their golden urns draw light4 ,milton4 ,above the figure of ,law3-- ,of law there can be no less acknowledged than that her voice is the harmony of the world4 ,hooker4 ,above the figure of ,science3-- ,the heavens declare the glory of ,god2 and the firmament sheweth his handiwork4 ,psalms xix1 #a4 ,the ,portrait ,statues4--,the sixteen bronze statues set along the balustrade of the galleries represent men illustrious in the various forms of thought and activity typified in the figures just described4 ,the arrangement of the statues is in pairs1 each pair flanking one of the eight great piers of the ,rotunda4 ,the list of those who have been thus selected to stand as typical representatives of human development and civilization is as follows3 ,under ,religion1 ,moses and ,st4 ,paul2 ,commerce1 ,columbus and ,robert ,fulton2 ,history1 ,herodotus and ,gibbon2 ,art1 ,michael ,angelo 7a single figure1 but standing at once for ,architecture1 ,sculpture1 and ,painting7 and ,beethoven2 ,philosophy1 ,plato and ,lord ,bacon2 ,poetry1 ,homer and ,shakespeare2 ,law1 ,solon and ,chancellor ,kent 7the author of the well-known ,commentaries72 ,science1 ,newton and ,professor ,joseph ,henry4 ,the sculptors were3 of the ,moses and ,gibbon1 ,mr4 ,charles ,h4 ,niehaus2 ,st4 ,paul1 ,mr4 ,john ,donoghue 7the sculptor of the figure of ,science72 ,columbus and ,michael ,angelo1 ,mr4 ,paul ,w4 ,bartlett 7who modelled the figure of ,law72 ,fulton1 ,mr4 ,edward ,c4 ,potter2 ,herodotus1 ,mr4 ,daniel ,c4 ,french 7,history72 ,beethoven1 ,mr4 ,theodore ,baur 7,religion72 ,plato and ,bacon1 ,mr4 ,john ,j4 ,boyle2 ,homer1 ,mr4 ,louis ,st4 ,gaudens2 ,shakespeare1 ,mr4 ,frederick ,macmonnies 7who did the central doors at the ,main ,entrance72 ,solon1 ,mr4 ,f4 ,wellington ,ruckstuhl 7the sculptor of the busts of ,goethe1 ,macaulay1 and ,franklin1 in the ,entrance ,portico72 ,kent1 ,mr4 ,george ,bissell2 ,newton1 ,mr4 ,c4 ,e4 ,dallin2 and ,henry1 ,mr4 ,herbert ,adams1 whom the visitor already knows for his work in connection with ,mr4 ,warner on the bronze entrance doors1 as well as for his little figures of ,minerva in the ,main ,vestibule4 ,of these figures1 two1 the ,moses and ,st4 ,paul1 are ideal1 though modelled1 in a general way1 according to conventions long established in ,christian art4 ,the ,solon is an original study1 although1 of course1 aiming to be entirely ,greek in spirit and costume4 ,the ,homer follows an ancient ideal bust4 ,the ,herodotus and ,plato are studied from original ,greek sculptures4 ,the features of the other ten are taken from portraits from life1 and the costumes are accurately copied from contemporary fashions4 ,illustration3 ,,herodotus4 ,,by ,,daniel ,c4 ,,french4 ,the ,moses of ,mr4 ,niehaus holds the ,table of the ,law1 and1 like ,michael ,angelo's famous figure1 is horned--a curious convention which crept into art from an ancient mistranslation of a passage in ,exodus4 ,the ,st4 ,paul is a bearded figure1 one hand on the hilt of a great two-edged sword1 and the other holding a scroll4 ,mr4 ,ruckstuhl has conceived his ,solon as the typical law-giver of the ancient world4 ,he is represented as stepping forward1 clothed in all the power of the state1 to announce at a solemn gathering of the people the supremacy of ,law over ,force4 ,a fold of his garment is drawn over his head with a certain priestly suggestion1 as if the laws he proclaimed were of divine origin4 ,he holds aloft1 in his left hand1 a scroll bearing the ,greek words ,,oi ,,nomoi1 which1 though meaning simply 8,the ,law10 were understood as referring especially to ,solon's enactments4 ,his right hand rests upon a sheathed and inverted sword1 which is wreathed with laurel4 ,the idea is that law has supplanted force1 but that force is always ready to carry out the mandates of the law4 ,homer is represented with a staff in his hand and a wreath of laurel crowning his head4 ,mr4 ,french represents ,herodotus as a traveller1 searching the known world for the materials of his histories4 ,his garments are girt up1 he bears a long staff in one hand1 and shades his eyes with a scroll as he gazes into the distance to discover his destination4 ,the ,fulton carries a model of a steamboat1 and the ,henry an electro-magnet1 for discoveries in electrical science4 ,the ,beethoven shows the composer with his hand uplifted as if to beat the measure of the harmony which has suddenly come into his mind--so suddenly that in the eagerness of his movement he has pulled the pocket of his greatcoat inside out4 ,mr4 ,macmonnies's ,shakespeare is a somewhat novel study1 so far as the head is concerned2 it is a composite of the portrait in the first collected edition of the ,plays and of the ,stratford bust4 ,the figure of ,kent wears the judicial ermine2 he carries in one hand the manuscript of his ,commentaries1 and holds a pen in the other4 ,of the other figures1 some1 like the ,gibbon1 carry a book or pen2 but in most instances the sculptor has sought merely to give his subject an appropriately noble and contemplative attitude and expression1 without trying to introduce any special symbol of his work4 ,mr4 ,flanagan's ,clock4#aj--,still another piece of sculpture--the group ornamenting the great clock over the entrance to the ,rotunda--remains to be spoken of before passing on to a description of the dome and ,mr4 ,blashfield's decorations4 ,it is the work of ,mr4 ,john ,flanagan1 the sculptor of the figure of ,commerce1 and1 taken altogether1 is one of the most sumptuous and magnificent pieces of decoration in the ,library4 ,the clock itself is constructed of various brilliantly colored precious marbles1 and is set against a background of mosaic1 on which are displayed1 encircling the clock1 the signs of the zodiac1 in bronze4 ,above is a life-size figure1 executed in high relief in bronze1 of ,father ,time1 striding forward scythe in hand4 ,to the left and right are the figures of maidens with children1 also in bronze1 representing the ,seasons4 ,the dial of the clock is about four feet in diameter2 in the centre is a gilt glory1 or 8sunburst40 ,the hands1 which are also gilded1 are jewelled with semi-precious stones4 ,illustration3 ,,the ,,rotunda ,,clock4 ,,by ,,john ,,flanagan4 ,including1 of course1 ,mr4 ,weinert's and ,mr4 ,martiny's work1 it will be seen that no less than nineteen ,american sculptors have contributed to the decoration of the ,rotunda4 ,considering the room--just for the moment1 and for the sake of the special point of view--merely as a ,gallery of ,statuary1 it will be seen how important and representative a collection of ,american sculpture has been brought together4 ,the choosing of the sculptors to be commissioned1 and of the work to be assigned to each--not only here but throughout the ,library--were necessarily matters of very careful consideration4 ,to aid in this work1 ,general ,casey secured the advice of the ,president of the ,national ,sculpture ,society 7the authoritative organization in such matters71 then as now ,mr4 ,j4 ,q4 ,a4 ,ward1 who associated with him as a committee two others of the most prominent members of the ,society4 ,this committee went into the question very thoroughly1 and as a result recommended the sculptors for the ,entrance ,portico1 the bronze entrance doors1 the ,commemorative ,arch in the ,staircase ,hall1 and the ,rotunda4 ,their advice was accepted in toto1 with the result1 barring a few changes made necessary by subsequent circumstances1 that the visitor has now seen4 ,illustration3 ,,detail ,,of ,,the ,,rotunda4 ,,showing ,,the ,,statue ,,of ,,gibbon4 ,the ,lighting of the ,rotunda4--,the soffits of the arches upholding the dome are ornamented with a row of plain coffers2 the larger arches which roof the alcoves within1 carry a triple row of more elaborate coffers1 each with a gilt rosette4 ,the windows of stained glass1 already spoken of as enclosed by these arches1 are semicircular in form and measure thirty-two feet across at the base4 ,they furnish the greater part of the light needed for the illumination of the room4 ,no shadows are cast in any direction4 ,being so high above the floor1 the light from them is much more effective than if they were nearer the level of the reader's eye4 ,they are better even than skylights1 and with none of the disadvantages of skylights4 ,other sources of light are the various little windows pierced in the four walls of the ,octagon which face the interior courts2 and1 above1 the eight windows of the ,lantern4 ,it has been said that no reading room in the world is so well lighted--so steadily1 abundantly and uniformly1 whether on the brightest or the darkest day4 ,mr4 ,blashfield's paintings in the dome1 for example1 can hardly be said to receive direct light from a single window in the room1 but for all that1 so perfectly is the light diffused1 they are as easily made out as any decorations in the building4 ,in the evening1 the light1 which is furnished entirely by electric lamps1 is quite as perfect in its way as in the daytime4 ,in the second story of the arcading of the marble screens1 a brass rod runs between the capitals of each arch1 supporting in the centre a brass star of eight points1 each point an electric lamp of thirty-two-candle power4 ,with seven of these in each screen 7except the west1 where ,mr4 ,flanagan's clock leaves room for only four71 and eight screens1 one has a total of four hundred and twenty-four lamps thus used4 ,above the cornice of the second entablature is a great ring containing three hundred and eight more4 ,similarly1 a line of fifty lamps occurs at the bottom of each of the semicircular windows1 making four hundred in all2 and in the eye of the lantern1 so placed1 however1 that the lamps themselves are invisible1 is a second ring numbering forty-six4 ,on the floor1 the reading desks are equipped1 altogether1 with sixty-eight bronze standards1 each bearing three lamps1 or two hundred and four in all4 ,add the number1 seventy-six1 which serve to light the ,distributing ,desk and the lower story of the alcoves1 and the result is a grand total of fourteen hundred and fifty-eight1 and a total candle-power of upwards of forty thousand4 ,when the current is turned on and all these lamps are lit1 the ,rotunda presents a spectacle of light and shadow worth going far to see4 ,illustration3 ,,seals ,,of ,,washington ,,and ,,kansas4--,,by ,h4 ,t4 ,,schladermundt4 ,,with ,,authorized ,,seal ,,of ,,kansas ,,in ,,the ,,centre4 ,the ,semicircular ,windows4--,it is calculated that1 by putting stained glass in the eight semicircular windows1 the amount of light admitted has been diminished almost exactly one-eighth2 in other words1 the result is the same as if one of the eight had been quite closed up4 ,the loss1 of course1 is hardly appreciated in a room sufficiently supplied with light from such a number of sources4 ,the windows are double1 with about four inches between the two sashes4 ,the glass used for the outside is plain1 but of different degrees of translucency1 according as it is necessary to prevent the entrance of direct sunshine1 which1 if admitted1 would be disagreeable to the occupant of the room and would distort the desirable even effect of the stained glass within4 ,thus1 in the east and west1 ribbed skylight glass is used2 in the southeast1 south1 and southwest1 ribbed and ground glass2 while on the other three sides1 where the sun never comes1 the glass is left perfectly clear4 ,the cartoons for the stained glass were made by ,mr4 ,schladermundt1 after designs prepared by the architect1 ,mr4 ,casey4 ,the ground is a crackled white1 leaded throughout into small1 square panes4 ,in order to give an effect of boldness and strength1 the windows are divided vertically by heavy iron bars4 ,the design is surrounded by a richly colored border of laurel1 combined with rosettes and ,roman fasces4 ,at the top1 in the middle of each window1 is the great seal of the ,united ,states1 four feet high1 surmounted by the ,american eagle1 whose outstretched wings measure eight feet from tip to tip4 ,to the right and left1 following the curve of the window1 are the seals of the ,states and ,territories1 three on a side1 or six in each window1 so that forty-eight--excluding only ,alaska and ,indian ,territory--are contained in the eight windows4 ,torches alternate with the seals1 and the fasces are introduced at the bottom4 ,the name of the ,state or ,territory is inscribed above each seal1 with the date of the year in which it was admitted to the ,union1 or organized under a territorial form of government4 ,the seals occur in the order of their dates1 the series beginning with the ,thirteen ,original ,states--which start in the easterly window in the order in which they signed the ,constitution--and continuing around the room to the three ,territories of ,new ,mexico1 ,arizona1 and ,oklahoma4 ,taken all in all they form one of the most interesting decorations in the ,library1 for the reason that the artist has succeeded in making a harmonious whole out of a very heterogeneous collection of designs4 ,the originals1 of course1 were separately drawn1 often by persons unacquainted with heraldry1 and never with any particular thought of fitting them into a single series like the present4 ,the result is that these originals show the greatest diversity of treatment4 ,the key1 so to speak1 is continually changing4 ,sometimes1 for example1 a figure introduced in the foreground is dwarfed by an altogether disproportionate background1 while in other cases the figure overpowers everything else2 copied exactly1 any heraldic or artistic unity of effect would be entirely lacking4 ,accordingly1 after getting together a complete collection of the seals--in every instance an authentic impression of the original obtained from the ,state secretary--,mr4 ,schladermundt re-drew1 and often almost redesigned his material to bring it into accordance with his decorative scheme4 ,just what it was that ,mr4 ,schladermundt undertook to do may best be seen in the accompanying engravings of the ,seal of ,kansas1 the first giving the seal as used on official papers1 the second copied from ,mr4 ,schladermundt's cartoon4 ,it will be seen that the spirit of the seal and its heraldic intention are the same in both4 ,the only difference is that in ,mr4 ,schladermundt's design certain changes of proportion have been made to make the seal harmonize with the style to which the artist wished to have all his designs adhere4 ,in many cases1 particularly in the seals of the ,thirteen ,original ,states1 the original has hardly been changed at all4 ,in the seal of the ,state of ,washington1 indeed1 which consists merely of a portrait of ,washington himself1 ,mr4 ,schladermundt has unobtrusively added the ,washington arms in the upper corner of the design1 in order to suggest the desirable heraldic conventionality more fully2 occasionally1 too1 it has been necessary to omit certain minor details as being unsuited to the breadth of treatment necessary in stained glass--but1 as a rule1 ,mr4 ,schladermundt has followed very carefully the specifications contained in the authoritative legislative enactments4 ,illustration3 ,,dome ,,ornament4 ,,by ,,albert ,,weinert4 ,the ,dome4--,a vertical section of the dome of the ,rotunda would show an exact half circle1 with a diameter of one hundred feet4 ,as has been said before1 the dome is of stucco1 applied to a framework of iron and steel1 filled in with terra cotta4 ,although1 as previously described1 it appears to rest upon the deep upper entablature1 it really springs immediately from the eight arches resting upon the great piers4 ,the entablature1 as will be seen on a close inspection1 bears no part in the construction4 ,it is projected so far forward from the dome that one may easily walk between the two4 ,the entablature is about seven feet high1 with a richly moulded architrave and a heavy projecting cornice4 ,the ground of the frieze is gilt1 with a relief ornament in white of eagles standing upon hemispheres and holding in their beaks a heavy garland of laurel4 ,over the north1 south1 east1 and west arches1 are two female figures--the work of ,mr4 ,philip ,martiny--represented as seated upon the architrave moulding and supporting a heavy cartouche--another instance of the emphasis which the architect has so often placed upon the four main axes of the building4 ,illustration3 ,,half ,,figures4 ,,by ,,albert ,,weinert4 ,the ,stucco ,ornamentation4--,the dome is so simply planned that a description of its main features may be given in a very brief space4 ,the surface is filled with a system of square coffers4 ,the ornamentation of the body of the dome is in arabesque4 ,the eight ribs which mark off the dome into compartments are each divided into two by a band of gilded ornament resembling a guilloche4 ,the coffers diminish in size from four and a half feet square at the bottom to two and a half feet at the top4 ,the total number of coffers is three hundred and twenty--or forty in each compartment1 and also in each horizontal row1 and eight in each vertical row4 ,the ground of the coffers is blue1 the sky-color1 as if one were really looking out into the open air--and therefore the color traditionally used in coffering4 ,to give sparkle and brilliancy1 many shades and kinds of blue are used1 the darker and heavier at the bottom1 and the lighter and airier toward the top4 ,the transition is so gradual and natural that the eye does not perceive any definite change1 but only a generally increased vividness4 ,the border mouldings of the coffers are cream-colored--old ivory is the usual term--strongly touched with gold1 and in the centre of each is a great gold rosette4 ,although the purpose of the dome arabesque is primarily to give an agreeable impression of light and shade1 the individual figures of which it is composed are nearly as interesting a study as the general effect of the whole4 ,the variety of the figures is almost bewildering--lions' heads1 sea-horses1 dolphins1 urns1 cartouches1 griffins1 shells1 storks1 caryatides1 tridents1 eagles1 cherubs1 half-figures1 geniuses--altogether something like forty-five principal type-designs1 interwoven with very many smaller but no less beautiful pieces of ornament4 ,all are adapted from ,renaissance models of the best and purest period1 and are combined with the utmost spirit and harmony in an arabesque whose every portion has equal artistic value4 ,no single figure catches the eye2 broad horizontal and vertical bands of decoration1 gradually diminishing as they approach the top1 encircle and ascend the dome1 each with its particular 8note0 of arrangement and design1 but all cunningly united to form an indisputable whole1 everywhere balanced and restrained4 ,illustration3 ,,detail ,,of ,,the ,,dome4 ,it may be of interest to the visitor to learn that one of the most novel and ingenious pieces of engineering connected with the construction of the ,library was a so-called 8travelling0 or rotary scaffold1 devised by ,mr4 ,green for the use of the workmen employed on the stucco decorations of the dome4 ,it may be likened to a huge pair of steps1 ascending from the upper entablature to the lantern4 ,its upper end thrust against an iron pintle secured to beams laid across the eye of the lantern1 and was steadied at the bottom by a pair of flanged wheels1 which travelled on a track in the entablature1 so that the whole apparatus could be traversed entirely round the room4 ,the various stages or landings were adjusted to fit the concave of the dome1 with the result that the accuracy of the curve could be tested with almost mathematical exactness4 ,at one time two of these scaffolds were swung to the same pintle4 ,mr4 ,blashfield's ,paintings4--,the position of ,mr4 ,blashfield's decorations in the ,collar and ,lantern of the dome is the noblest and most inspiring in the ,library4 ,they are literally and obviously the crowning glory of the building1 and put the final touch of completion on the whole decorative scheme of the interior4 ,the visitor will see how1 without them1 not a painting in the building would seem to remain solidly and easily in its place1 for they occupy not only the highest1 but the exact central point of the ,library1 to which1 in a sense1 every other is merely relative4 ,as was hinted in the description of ,mr4 ,vedder's paintings1 ,mr4 ,blashfield was almost necessarily drawn to select some such subject as he has here chosen--the ,evolution of ,civilization1 the records of which it is the function of a great library to gather and preserve4 ,the ceiling of the ,lantern is sky and air1 against which1 as a background1 floats the beautiful female figure representing the ,human ,understanding1 lifting her veil and looking upward from ,finite ,intellectual ,achievement 7typified in the circle of figures in the collar7 to that which is beyond2 in a word1 ,intellectual ,progress looking upward and forward4 ,she is attended by two cherubs1 or geniuses2 one holds the book of wisdom and knowledge1 the other seems1 by his gesture1 to be encouraging those beneath to persist in their struggle towards perfection4 ,the decoration of the collar consists of a ring of twelve seated figures1 male and female1 ranged against a wall of mosaic patterning4 ,they are of colossal size1 measuring1 as they sit1 about ten feet in height4 ,they represent the twelve countries1 or epochs1 which have contributed most to the development of present-day civilization in this country4 ,beside each is a tablet1 decorated with palms1 on which is inscribed the name of the country typified1 and below this1 on a continuous banderole or streamer1 is the name of some chief or typical contribution of that country to the sum of human excellence4 ,the figures follow each other in chronological order1 beginning1 appropriately enough1 at the ,east1 the ,east being the cradle of civilization4 ,the list is as follows3 ,egypt1 typifying ,written ,records2 ,judea1 ,religion2 ,greece1 ,philosophy2 ,rome1 ,administration2 ,islam1 ,physics2 ,the ,middle ,ages1 ,modern ,languages2 ,italy1 the ,fine ,arts2 ,germany1 the ,art of ,printing2 ,spain1 ,discovery2 ,england1 ,literature2 ,france1 ,emancipation2 and ,america1 ,science4 ,illustration3 ,,bacon4 ,,by ,,john ,j4 ,,boyle4 ,each figure is winged1 as representing an ideal1 but the wings1 which overlap each other regularly throughout1 serve mainly to unite the composition in a continuous whole1 and in no case have been allowed to hamper the artist in his effort to make each figure the picture of a living1 breathing man or woman4 ,four of the twelve figures1 it will be observed1 stand out more conspicuously than the rest on account of the lighter tone of their drapery--,egypt1 ,rome1 ,italy1 and ,england4 ,they occupy respectively the east1 south1 west1 and north points in the decoration1 and furnish another instance of the stress that has been laid1 throughout the ,library1 upon the four cardinal points of the compass which govern the axial lines of the building1 and which in turn have been enriched and dignified in the final decorative scheme of the interior4 ,each of these axial figures is painted in a more rigid attitude than those beside it1 and forms1 as will be noticed1 the centre of a triad1 or group of three1 each of the flanking figures leaning more or less obviously toward it4 ,it should be noted that there was no intention on the part of the painter to magnify the importance of the four figures thus represented over any of the others4 ,the emphasis of color is solely for decorative purposes4 ,the arrangement being chronological1 ,mr4 ,blashfield was unable to exercise much control over the order in which each figure should occur1 and still retain his original selection of countries4 ,egypt is represented by a male figure clad in the waistcloth and cap with lappets so familiar in the ancient monuments4 ,the idea of ,written ,records is brought out by the tablet he supports with his left hand1 on which is inscribed in hieroglyphics the cartouche or personal seal of ,mena1 the first recorded ,egyptian king2 and by the case of books at his feet1 which is filled with manuscript rolls of papyrus1 the ,egyptian paper4 ,besides the idea of ,writing and ,recording1 ,mr4 ,blashfield brings out the fact that the ,egyptians were among the first who held the doctrine of the immortality of the soul4 ,the figure holds in the right hand the ,tau1 or cross with a ring head1 the emblem of life both in this world and beyond it2 and on the tablet behind his feet is the winged ball1 the more familiar symbol of the same idea4 ,judea is shown as a woman lifting her hands in an ecstatic prayer to ,jehovah4 ,the over-garment which she wears falls partly away1 and discloses the ephod1 which was a vestment worn by the high priests1 ornamented with a jewelled breastplate and with onyx shoulder clasps set in gold1 on which were engraved the names of the ,twelve ,tribes of ,israel4 ,on the face of a stone pillar set beside her is inscribed1 in ,hebrew characters1 the injunction1 as found in ,leviticus1 xix1 #ah3 ,thou shalt love thy neighbor as thyself--a sentence selected as being perhaps the noblest single text contributed by the ,jewish race to the system of modern morality4 ,in her lap is a scroll1 containing1 presumably1 a portion of the ,scriptures2 and at her feet is a censer1 typical of the ,hebrew ritualism4 ,illustration3 ,,the ,,human ,,understanding4--,,by ,e4 ,h4 ,,blashfield4 ,the figure of ,greece is distinctly suggestive1 so far as attitude and drapery are concerned1 of one of the beautiful little ,tanagra figures of terra-cotta--so called from the ancient ,greek town in which they were first discovered--which are so familiar to students of ,greek art4 ,a bronze lamp is set beside her1 and in her lap is a scroll--the emblems of wisdom4 ,her head is crowned with a diadem--possibly with a reference to the ,city of the ,violet ,crown1 ,athens1 the ,mother of ,philosophy4 ,rome1 the second axial figure1 wears the armor of a centurion1 or captain in a legion4 ,a lion's skin1 the mark of a standard-bearer1 is thrown over him1 the head covering the top of his casque4 ,the whole conception is that of the just but inexorable administration of ,rome founded upon the power of its arms4 ,one foot is planted upon the lower drum of a marble column1 signifying stability4 ,his right arm rests upon the fasces1 or bundle of rods1 the typical emblem of the ,roman power and rule4 ,in his right hand he holds the baton of command4 ,islam is an ,arab1 standing for the ,moorish race which introduced into ,europe not only an improved science of ,physics1 as here used by ,mr4 ,blashfield in its older and less restricted sense--but of mathematics and astronomy also4 ,his foots rests upon a glass retort1 and he is turning over the leaves of a book of mathematical calculations4 ,by the term ,middle ,ages1 represented by the female figure which comes next in the decoration1 is usually understood the epoch beginning with the dissolution of the ,western ,roman ,empire in #dee and ending with the discovery of ,america in #adib4 ,no single country is here indicated1 for ,europe was throughout that period in a state of flux1 so to say1 in the movement of which the principal modern languages were finally evolved from the ,latin and ,teutonic tongues4 ,but it was an epoch notable for many other things1 also4 ,the figure typifying the epoch is distinguished by an expression at once grave and passionate1 and has a sword1 casque and cuirass1 emblematic of the great institution of ,chivalry2 a model of a cathedral1 standing for ,gothic ,architecture1 which was brought to its greatest perfection in these thousand years2 and a papal tiara and the keys of ,st4 ,peter1 signifying medival devotion and the power of the ,church4 ,illustration3 ,,section ,,of ,,the ,,dome ,,decoration4--,,by ,,edwin ,h4 ,,blashfield4 ,the next figure1 ,italy--the ,italy of the ,renaissance--is shown with symbols of four of the ,fine ,arts which she represents--,painting1 ,sculpture1 ,architecture1 and ,music4 ,she holds a palette in her left hand1 and with the brush in her right seems about to lay another stroke of color on her canvas4 ,to her left is a statuette after ,michael ,angelo's celebrated ,david1 in ,florence4 ,at her feet is a ,renaissance capital2 and leaning against the wall a violin1 at once the typical musical instrument and that in the manufacture of which the ,italians peculiarly excelled4 ,germany is the printer1 turning from his press--a hand-press1 accurately copied from early models--to examine the proof-sheet he has just pulled4 ,his right foot is placed upon a pile of sheets already corrected1 and a roller for inking lies convenient to his hand4 ,spain is the sixteenth century ,spanish adventurer4 ,he wears a steel morion on his head1 and is clad in a leathern jerkin4 ,holding the tiller of a ship in his right hand1 he seems to be watching for land to appear in the sea4 ,beside him is a globe of the earth1 and at his feet a model of a caravel1 the sort of ship in which ,columbus sailed on his voyages1 is introduced4 ,england wears the ruff and full sleeves of the time of ,elizabeth--the era when ,english ,literature1 both poetry and prose1 was at its highest4 ,she is crowned with laurel--the reward of literature--and bears in her lap an open book of ,shakespeare's ,plays--the right-hand page with a facsimile of the title-page of the first edition of ,a ,midsummer ,night's ,dream1 dated #afjj4 ,illustration3 ,,section ,,of ,,the ,,dome ,,decoration4--,,by ,,edwin ,h4 ,,blashfield4 ,france1 standing for ,emancipation and the great revolutionary upheaval of the eighteenth century1 is dressed in a characteristic garb of the ,first ,republic--a jacket with lapels1 a tricolor scarf1 and a liberty-cap with a tricolor cockade4 ,she sits on a cannon and carries a drum1 a bugle1 and a sword--emblems of her military crusade in behalf of liberty4 ,in her left hand she displays a scroll bearing the words 8,les ,droits de l',homme10 the famous ,declaration of the ,rights of ,man adopted by the ,french ,assembly in #aghi4 ,the twelfth and last figure1 bringing us once more round to the east1 is that of ,america--represented as an engineer1 in the garb of the machine-shop1 sitting lost in thought over a problem of mechanics he has encountered4 ,he leans his chin upon the palm of one hand1 while the other holds the scientific book which he has been consulting4 ,in front of him is an electric dynamo--recalling the part which the ,united ,states has taken in the advancement of electrical science4 ,on the base of the dynamo1 ,mr4 ,blashfield has signed his work in an inscription which recalls also the name of the artist who assisted him in laying it upon the plaster3 8,these decorations were designed and executed by ,edwin ,howland ,blashfield1 assisted by ,arthur ,reginald ,willett1 ,a4 ,d4 ,,mdccclxxxxvi40 ,the visitor will perhaps have been a little perplexed by the familiar appearance of some of the faces in ,mr4 ,blashfield's decoration4 ,it is an interesting fact that in several cases ,mr4 ,blashfield has introduced a resemblance1 more or less distinct1 to the features of some real person in order to give greater variety1 and1 above all1 greater vitality to his figures4 ,the persons chosen were selected because the character of their features seemed to him peculiarly suited to the type which he wished to represent4 ,in the case of ,abraham ,lincoln--the figure of ,america--and of ,general ,casey--the ,germany--the choice was fitting for other reasons4 ,among the female figures1 ,the ,middle ,ages is ,mrs4 ,de ,navarro 7,mary ,anderson71 and ,england1 ,miss ,ellen ,terry4 ,the faces of ,italy and ,spain are from sketches made from ,miss ,amy ,rose1 a young sculptor in ,new ,york1 and ,mr4 ,william ,bailey ,faxon1 the painter1 respectively4 ,france suggests the features of the artist's wife4 ,throughout1 however1 it must be remembered that1 to use ,mr4 ,blashfield's own words1 8no portraiture has been attempted1 but only characterization40 ,illustration3 ,,henry4 ,,by ,,herbert ,,adams4 ,the ,rotunda ,color ,scheme4--,one can hardly leave this description of the decoration of the ,rotunda without a word respecting the general color scheme4 ,beginning with the brown1 red1 and yellow marbles at the base1 one ends with the pure whites and bright greens and violets of ,mr4 ,blashfield's final decoration4 ,the difference between these two extremes has been bridged over by the use of harmonizing colors on the walls and in the dome4 ,the ,pompeiian red of the alcove walls and the pendentives is suggested by the ,numidian marble of the piers4 ,a touch of brown on the wall below the semicircular windows echoes the brown ,tennessee base1 and the yellow predominant in the alcove arches above derives from the ,sienna screens4 ,these last1 again1 in their lightest portions1 strike the key for the 8old ivory0--the delicate gray yellow--which1 either deeper or lighter1 is always the ruling tone of the entablature1 the dome1 and the sculptural figures in plaster4 ,the coffers of the dome1 one will notice by looking closely1 are defined by a narrow band of yellow or red--yellow throughout one whole compartment1 and red in the next4 ,the former carries up 7more markedly than in the ivory-toned stucco7 the color of the screens2 the latter the color of the piers4 ,the blue ground1 moreover1 and the yellow stripe create together1 whether one will or not1 an impression of green upon the eye1 because green is compounded of blue and yellow2 and the blue and the red1 in turn1 create an impression of violet1 for a similar reason4 ,thus1 the visitor1 glancing up to the decorations of the collar1 is already prepared for ,mr4 ,blashfield's two dominating tones4 ,the white is expected as the natural result of a color scheme which has been steadily growing lighter from the beginning1 and1 after being used in ,mr4 ,blashfield's painting1 it is at last appropriately employed almost solely in the lantern which crowns the whole ,rotunda4 ,finally1 considering the room as a whole1 it will be noted that the profuse use of gold throughout the dome and lantern is not only legitimately suggested by the ,sienna marble1 but of itself helps to keep the various colors--in marble or stucco--in what may be called a more complete 8state of solution0 than would otherwise have been possible4 ,by attracting attention to itself1 it softens the contrasts between the other colors4 ,the floor of the ,rotunda is a kind of mosaic1 known as terrazzo1 ornamented with great concentric bands of ,tennessee marble4 ,terrazzo1 sometimes called 8chip mosaic0 or 8granito10 is made by sprinkling a layer of small pieces of marble upon a bed of ,portland cement1 rolling it all down so that the pieces are thoroughly embedded1 and1 after it is dry1 rubbing it down smooth with sandstone4 ,when carefully prepared1 it makes an especially durable floor4 ,illustration3 ,,newton4 ,,by ,c4 ,e4 ,,dallin4 ,provision for ,readers4--,the reading desks are arranged in three circles1 surrounding the ,distributing ,desk as a centre4 ,each row contains eight desks1 leaving room between for aisles radiating from the central desk4 ,they are constructed of dark1 heavy mahogany1 and are supported on iron standards with gratings admitting warm or fresh air1 for heating and ventilation4 ,the inmost row is a combination of reading-tables1 settees1 and standing writing-desks1 with shelves for reference books1--encyclopdias1 dictionaries1 directories1 atlases1 etc41--of which there is a very full selection4 ,the outer rows are double-faced1 and arranged exclusively for persons reading and studying4 ,allowing each a space of four feet1 the desks are capable of seating altogether two hundred and forty-six readers4 ,including the alcoves1 which1 on account of the number of separate spaces they contain1 are well adapted to the use of special students1 particularly those desiring to turn over a large number of books at one time1 the total number of readers that can be accommodated in the ,rotunda is two hundred and eighty-nine4 ,the ,distributing ,desk is surrounded by a circular counter for attendants1 and for delivering and receiving books1 and cases containing a card catalogue of the ,library1 arranged alphabetically in shallow drawers according to the subject1 author1 and title4 ,it has been the policy of the ,library from the beginning1 moreover1 to issue its catalogue in printed volumes1 new editions being prepared as the old ones became obsolete on account of fresh accessions4 ,of late years1 however1 the ,library has grown so enormously that the annual appropriations of ,congress have not been sufficient to warrant this undertaking4 ,the latest volumes were published in #ahha1 and carried the catalogue only through the letter 8,c40 ,within the enclosures formed by these various desks and cabinets is a small elevator for bringing books by the truck-load from the basement story4 ,the ,distributing ,desk itself is built of mahogany1 ornamented with panelling and carving4 ,on the east side it consists of a high station for the use of the ,superintendent--the officer in charge in the ,rotunda--who is thus able to keep in touch with everything doing in the room4 ,on the other side is a cabinet containing the terminus of the system of book-carrying apparatus connecting the ,reading ,room and ,stacks1 and in the centre is a stairway leading to the basement4 ,along the front of the desk1 also1 is a row of twenty-four pneumatic tubes for the transmission of messages1 either in cylindrical pouches1 as in the case of the written applications which those desiring to draw books are required to make out1 or verbally1 by means of a mouth-piece with which each tube is equipped4 ,nine tubes go to the ,north ,stack and nine to the ,south ,stack1 or one for every floor4 ,four go to the ,east ,stack1 or one to every other floor4 ,an attendant for any portion of the stack system can thus be reached at a moment's notice4 ,of the other two tubes1 one goes to the ,librarian's ,room and the other connects with the ,capitol4 ,each tube is numbered1 and is operated by pressing a button1 the action of which indicates1 also1 when the pouch is delivered at the other end4 ,each tube terminates in a separate bronze case or box1 which is heavily cushioned1 and closed by self-shutting glass doors in order to prevent noise4 ,the tube enters at the bottom1 and the pouch is thrown against a curved 8hood10 so called1 which guides it to one side so that it may not fall back into the mouth of the tube4 ,illustration3 ,,kent4 ,,by ,,george ,e4 ,,bissell4 ,the ,book-,carrying ,apparatus4--,the main features of the book-carrying apparatus were suggested by ,mr4 ,green1 although worked out with the assistance of ingenious mechanics4 ,the apparatus is in two parts1 each separately operated1 the first of which connects with the ,north ,stack and the second with the ,south ,stack4 ,the ,east ,stack is so much less extensive than the other two that it was thought more economical to rely solely upon the services of the attendants for the delivery and return of the books it contained4 ,each section of the apparatus 7north or south7 consists of a pair of endless chains kept continuously in motion1 at the rate of about one hundred feet a minute1 by means of power furnished by an electric dynamo4 ,these two chains run from the terminal cabinet to the basement2 thence on a level to the stacks2 and from there directly up a small well to the top floor1 where they turn and descend4 ,the cable carries eighteen trays1 distributed at regular intervals4 ,each tray is capable of carrying a volume the size of the ordinary quarto1 7say eleven inches by ten1 and four inches thick71 or its equivalent in smaller volumes4 ,larger books must be carried by hand down the elevator with which each stack is provided4 ,the tray is of brass1 made in the form of a hooked comb1 the ends of the teeth being left free4 ,the terminal cabinet and all the stack stories are provided with toothed slides1 the teeth of which engage with those of the trays1 and rake off or deliver the books1 as the case may be4 ,if one bends and slightly opens the fingers of both hands1 and then draws the fingers of one through those of the other1 the general principle of the arrangement will immediately be seen4 ,the tray1 however1 can receive books only when going up1 and can deliver them only when coming down4 ,when a book is received by a slide it falls into a padded basket1 ready to be taken to its place on the shelves or delivered to the reader4 ,when the attendant desires to deliver a book to the ,rotunda1 he places it on the slide1 and sets the latter so that it will be ready to meet the first tray which arrives4 ,in returning books1 the officer at the ,distributing ,desk must set a little lever on a dial at the number of the stack for which the book is intended4 ,when the tray approaches the proper floor1 the slide is automatically pushed out to receive the load4 ,illustration3 ,,fulton4 ,,by ,,edward ,c4 ,,potter4 ,connection with the ,capitol4--,it is calculated that1 by means of the pneumatic tubes and the book-carrying apparatus1 it will require no more than six or seven minutes to bring a book from the stacks1 from the time it is first called for4 ,valuable1 however1 as is the use of machinery in connecting widely distant portions of the ,library1 it is even more important as a factor in bringing together the ,library itself and the ,capitol1 where hardly an hour passes1 during a session of ,congress1 but some member desires to draw books for immediate use in debate or committee work4 ,the distance between the two buildings is about a quarter of a mile 7twelve hundred and seventy-five feet74 ,this is covered by a tunnel having at one end a terminus in the basement almost immediately beneath the ,distributing ,desk1 and at the other end in a room in the ,capitol about midway between the ,senate and ,house of ,representatives4 ,the tunnel is built of brick1 is perfectly dry1 and about six feet high and four feet wide1 or just large enough for a man to enter and make any needed repairs4 ,an endless cable1 kept moving by a similar force to that which supplies the apparatus connecting with the stacks1 carries two trays back and forth between the terminals1 receiving and delivering books by the same arrangement of teeth as has just been described4 ,the trays are much larger1 however1 than the others1 and are capable of containing the largest volumes1 such as bound volumes of newspapers4 ,the speed at which the cable runs is about six hundred feet a minute1 delivering a book at the ,capitol within three minutes after it has left the ,library4 ,in addition to the book-carrier1 the tunnel contains the pneumatic tube already spoken of1 and the wires of private telephones connecting the two ,houses of ,congress with the ,distributing ,desk4 ,so quickly can a message be sent and a book returned1 that it is said that a ,congressman can get the volumes he desires in less time than it would have taken him when the ,library occupied its old quarters in the ,capitol itself4 ,,the ,,book-,,stacks4 ,from the point of view of library equipment and management1 however1 the three great book-stacks radiating from the ,rotunda are the most interesting and remarkable feature of the building4 ,they were entirely planned by ,mr4 ,bernard ,r4 ,green1 the engineer in charge of the construction of the ,library4 ,the word 8planned10 indeed1 is hardly adequate2 8invented0 would be nearer the exact fact4 ,the idea of a book-stack1 as distinguished from a mere arrangement of bookcases1 is so new that such examples as were in existence when ,mr4 ,green entered upon the work were imperfect in many very important points4 ,illustration3 ,,plato4 ,,by ,,john ,j4 ,,boyle4 ,the root purpose of a book-stack1 of course1 is to make it capable of holding the greatest number of volumes in the smallest possible space--always1 however1 bearing in mind that every book must be perfectly accessible and so placed that it can be easily and quickly handled4 ,the space being limited and the number of volumes large1 the old way of arranging cases along the walls1 even when the wall space is materially increased by dividing a room into alcoves1 has to be abandoned in favor of a more compact system4 ,the modern substitute is to erect the cases in stories1 or tiers1 with corridors and passages only large enough to give convenient access to the books4 ,throughout1 the aim of the builder is to dispose of every inch of space as economically as possible4 ,of the three stacks in the ,library of ,congress1 those to the north and south are1 as the visitor has seen1 the largest1 each having a length of one hundred and twelve feet against thirty for the ,east ,stack4 ,all three are of the same width1 however--forty-five feet--and the same height--sixty-three feet4 ,the method of construction is the same throughout1 and each is absolutely fireproof1 the only materials used being steel1 iron1 brick1 glass1 and marble4 ,few things which can be destroyed by fire at all are more difficult to burn than books1 and a fire in the stacks1 even if carefully nursed by an incendiary1 could hardly do more than a trifling injury4 ,arrangement and ,construction4--,the stacks are divided into nine tiers1 each tier being seven feet high1 and into an equal number of stories the same distance apart4 ,this distance was adopted in order that the books on the highest shelf of a tier might not be beyond the convenient reach of a man of average height1 or so far away that he could not easily read their titles4 ,by the present arrangement every book can be handled or its title read without effort4 ,the stacks begin at the basement story1 which is fourteen feet below the level of the floor of the ,rotunda4 ,they are sixty-three feet in height--the sum1 that is1 of the nine seven-foot stories--and are topped by an iron covering1 so that any water which might by accident come through the roof would be shed without harming the books4 ,the construction of the shelving is entirely of steel and iron4 ,the unit of construction1 as it may be technically called1 is a steel column erected on a firm foundation and extending the height of the stack4 ,there are over three hundred of them in each of the two large stacks4 ,at the bottom of every tier above the basement is a horizontal framework of steel bars1 running between the columns1 the length and width of the stack1 and securely anchored to the walls4 ,these cross-pieces perform a double service3 they brace the upright columns and prevent them from bending under the weight they bear1 and they are supports on which to lay the decks4 ,the cases1 that is1 do not rest on the flooring1 but the flooring on the general system of the cases4 ,it may be added that with the strong and simple framing that is used the stacks might very well have been carried a dozen stories higher without materially increasing the size of the columns4 ,the ranges--by which is meant the cases for books--are of iron1 divided into six compartments by partitions bolted to the columns4 ,they are double-faced1 each side being a foot deep1 and have no backs4 ,on the front edge of each partition are blunt teeth1 and near the back edge is a vertical row of horns1 both serving to hold the shelves in place4 ,the ranges are at right angles with the wall1 so that there is no opportunity for the occurrence of what are called 8dead angles0--waste spaces in which it is impossible to put books4 ,illustration3 ,,gibbon4 ,,by ,,charles ,h4 ,,niehaus4 ,the ranges are nineteen and a quarter feet long1 and in both of the larger stacks are forty-two in number1 twenty-one on each side of the stack1 leaving a corridor between every story the length of the gallery4 ,between them are aisles three feet four inches wide4 ,near the middle of the stack a couple of ranges are omitted to give room for staircases up and down1 an elevator well1 large enough to carry an attendant and a truck-load of books2 and the shaft or well for the book-carriage service4 ,the decks themselves are of white marble1 two and a half feet wide in the aisles and five and a half in the corridors1 set in an iron frame4 ,this leaves a five-inch slit on either side1 between it and the range4 ,the space is too narrow and too close to the range for anyone to step through1 and in order that any small article may not roll off1 the deck is protected by a raised edge4 ,it would1 of course1 be possible1 though difficult1 to drop a book down the slit1 in which case1 however1 it would be very sure to lodge long before it struck the basement floor4 ,if found necessary1 any such accident could be prevented by protecting the opening with a wire netting4 ,the advantages of an open space are many1 however3 attendants may speak to one another from deck to deck without the trouble of going to the stairways2 light is diffused through it2 and it keeps the books on the lower shelves from damage1 either by being carelessly struck by the foot or one of the wheeled trucks used to carry books from the shelves to the elevator well4 ,ventilation and ,heating4--,especially1 by allowing a free circulation of air1 these desk-slits help to heat and ventilate the stacks4 ,ventilation is especially important4 ,books require pure air almost as much as human beings do2 if they do not get it they grow 8musty10 and gradually decay4 ,as will have been seen1 the whole structure of the stack is open2 nothing is closed1 even the partitions in the ranges being made in the form of gratings4 ,the system of ventilation and heating is one and the same1 and both require the freest circulation of air4 ,air is taken into the cellar through the windows looking out into the court-yards1 first1 however1 passing through filters of cotton cloth to exclude all dust2 after being warmed it ascends through gratings to the roof1 where it passes out through ventilating flues4 ,in this way the temperature is everywhere kept very nearly even4 ,electric fans are ready for use in case of any sluggishness in the circulation1 and in summer are also used for sending cooled air into the stack4 ,the ,shelving4--,the shelves themselves are open1 being composed of parallel strips of steel with a narrow space between4 ,the total number of shelves in the three stacks is sixty-nine thousand two hundred4 ,each is one foot wide and thirty-eight inches long1 with a total length of forty and a half miles4 ,they are capable of sustaining a weight of forty pounds a square foot--more than will ever be required of them--with practically no deflection4 ,nevertheless1 though so much stiffer1 they are as light as the ordinary board shelf of the same size4 ,they can be easily and quickly adjusted at any height1 without the need of pegs or loose screws4 ,once in place they cannot slip or tip1 and being made in a uniform size 7with some small exceptions for certain irregular spaces around stairways1 etc471 every shelf is available for use anywhere4 ,there are no rough edges or projections on which a book can wear1 and the parallel strips of steel are rounded and highly polished by means of the ,bower-,barff process of coating with magnetic oxide of iron1 so that the surface is as smooth as glass--which not only helps to preserve the books1 but can offer no lodgement for dust or insects4 ,the open spaces1 also1 afford an opportunity for using a workable book-brace1 specially devised by ,mr4 ,green4 ,furthermore1 the shelves can be removed from any compartment as desired1 and space thus made for a table1 a cabinet1 or a desk1 as needed2 or an extra corridor can be at once opened for any distance4 ,then again1 in case of the extra large books1 sufficient space may be made by placing the shelves of both sides of the range on a level4 ,illustration3 ,,the ,,rotunda1 ,,looking ,,east4 ,lighting4--,no point was more carefully studied in the construction of the stacks than the lighting4 ,preliminary plans requiring an immense amount of labor were made1 showing the amount of direct sunlight which any portion of the three arms would receive at any hour of the day1 any month in the year4 ,skylights along the line of the corridors help light the upper tiers4 ,the walls are honeycombed with windows from top to bottom4 ,in the north and south stacks there are no less than three hundred and sixty4 ,they occur at the ends of the passageways between the ranges1 being placed at the intersections of the decks1 so that each may diffuse direct light into two tiers at once4 ,in this way there can be no perceptible difference in the amount of light cast into the upper and lower portions of the tiers4 ,at the end of each passageway the window is fitted with a seat for the use of the readers admitted to the stacks1 or attendants4 ,ground glass is employed for the windows on the east side of the south stack1 where the sunlight is so abundant and continuous that it would be inconvenient if admitted1 besides being likely to cause the bindings of the books to fade2 everywhere else the clear open plates invite the entrance of all the illumination which can be obtained4 ,each window consists of a single piece of polished plate glass three feet wide1 and permanently sealed1 so that no dust or moisture can ever penetrate it4 ,in order to wash the glass from the outside the wall is fitted at convenient intervals with skeleton galleries4 ,the courts themselves give an abundance of full1 bright light2 and that none of it may be wasted1 and in order that it may be evenly distributed through the tiers1 both at the bottom and top of the stacks1 the walls of the courts are constructed of yellow enamelled brick1 which makes an admirable reflector1 on rainy as well as on sunny days4 ,inside1 the marble decks are highly polished1 so that they1 too1 serve as efficient reflectors1 casting the light which they receive into every nook and cranny of the stack4 ,evenings1 the light is furnished by incandescent lamps1 with which the passages and corridors are abundantly equipped1 and here again the polished decks serve a most useful purpose in diffusing the brilliant illumination throughout the whole system of shelving4 ,altogether1 it may be very confidently stated that no great collection of books was ever before so thoroughly and conveniently lighted1 whether in the day or at night4 ,,the ,,lantern4 ,before leaving the ,rotunda it should be added that it is possible to ascend into the ,lantern by taking either of the winding iron staircases in the piers on the left and right of the west gallery4 ,the staircases in all the piers carry one up into the space between the two shells of the dome1 where it will be necessary from time to time for workmen to go in order to paint the iron framing and thus preserve it from rust and decay1 but only these two are open to the public4 ,on the way up one has a chance to observe the interesting construction of the dome2 and in the ,lantern1 which is left unfinished except in the portions seen from below1 one may look over the parapet and down into the ,rotunda4 ,by taking the staircase to the right1 moreover--to the right as one originally enters the gallery from the ,entrance ,hall1 that is--one reaches a door through which one may pass out to a little gallery encircling the ,rotunda in the open air and affording a beautiful view of ,washington and the surrounding country4 ,or1 if one chooses to defer this little expedition1 it is possible to make the trip without retracing one's steps by taking the elevator on the first story of the ,entrance ,hall and getting out on the attic floor1 from which one may enter either of the two stairways just described4 ,,the ,,rectangle4 ,in going through the various galleries and pavilions of the ,rectangle it is perhaps more logical to begin on the library floor1 but supposing the visitor to be about to leave the ,rotunda by the way in which he has come1 it will save a little time to take the second story first4 ,both are alike1 so far as the arrangement of rooms is concerned1 except that on the first story one leaves the ,entrance ,hall by a narrow corridor1 while above one enters the galleries directly4 ,the arrangement is very simple1 as will be seen by looking at the plan of the building4 ,the pavilions are connected by long galleries1 two on the west and east sides1 where the ,rectangle is interrupted by the centre pavilions1 and one each on the north and south sides4 ,the corner pavilions of both floors contain octagonal-shaped rooms1 which1 in the second story1 have domed ceilings and mosaic floors1 and are richly embellished with paintings and sculpture and relief decoration in stucco4 ,the ,east ,pavilion contains a small staircase and a good sized but plainly finished room on both stories4 ,the rooms on the second story are intended for the most part as exhibition halls for the display of works of art which have come into the possession of the ,library through the operation of the copyright law1 or of books and manuscripts of special interest on account of their rarity and curiosity4 ,one room1 for example1 is intended to contain a collection of early printed books and1 in general1 such volumes as best illustrate the history of printing2 another room is for books relating to the early history of ,america4 ,the ,north ,gallery is the ,map ,room2 the ,south ,gallery is the ,print ,room1 for engravings1 lithographs1 etchings1 photographs1 etc41 illustrating the progress and development of the reproductive arts4 ,illustration3 ,,southwest ,,gallery4--,,the ,,sciences4--,,by ,,kenyon ,,cox4 ,there is space here to speak only of the more richly decorated of these rooms--the corner pavilions and the two galleries on the west side4 ,the others1 as the visitor will see in walking through them1 require no special description4 ,the walls are decorated in broad masses of plain color1 with deep friezes of simple but interesting patterns4 ,the decoration varies from room to room1 but all are united in a single intelligent harmony of color4 ,each contains a long skylight surrounded by a stucco border left plain in most of the galleries1 but in the ,print ,room enriched by coffering decorated with gilt 8cherubs' wings40 ,the skylights are ornamented with a simple design of stained glass4 ,the chief colors employed are purple and pale green and yellow1 and the design includes the names of men distinguished in ,american history and in art1 letters1 and science4#aa ,,southwest ,,gallery4 ,the chief decorations of the gallery into which one goes from the ,south ,corridor of the ,entrance ,hall are two large tympanums by ,mr4 ,kenyon ,cox1 one at each end of the room over the triple doors by which one enters or leaves4 ,for the rest1 the room is lighted1 like the other galleries1 on both sides1 so that one may look out toward the ,capitol1 or1 on the east1 into one of the interior courts4 ,the ceiling is an elliptical barrel vault1 rising to a height of twenty-nine feet4 ,it is set with square coffers in blue and gold1 and divided by double ribs which spring from the paired pilasters4 ,between the pilasters a bright-colored arabesque is introduced1 in which blue is the prevailing color4 ,it is continued in the ceiling by an arabesque in relief1 the most conspicuous features of which are seated cherubs1 and medallions with the letters 8,c4 ,l40--standing for 8,congressional ,library40 ,the floor is ,vermont1 ,italian1 and ,georgia marble1 laid in square panels1 so as to reflect1 in a way1 the pattern of the coffers in the ceiling above4 ,mr4 ,cox's ,paintings4--,mr4 ,cox's tympanums are thirty-four feet long and nine and a half feet high4 ,at the south end of the room the subject of the decoration is ,the ,sciences1 and at the north end1 ,the ,arts4 ,the panels are similar in composition1 occupying as they do exactly corresponding positions4 ,on each the design is drawn together by a low marble balustrade1 at the centre of which is a semicircular recess enclosing a kind of throne or high marble seat4 ,at either end of the recess1 so as to come directly over a pilaster occurring between the doors1 is a post bearing a tripod on which incense is burning4 ,the effect is to carry the lines of the architecture below up into the painting4 ,illustration3 ,,the ,,arts4--,,by ,,kenyon ,,cox4 ,in the panel of ,the ,arts1 the central throne is occupied by the figure of ,poetry1 represented as a young and beautiful woman crowned with laurel and bearing an antique lyre4 ,she is seated in an attitude of immediate inspiration1 the fold of her garment blowing in the wind1 her left hand raised from the chord which she has just struck upon the lyre1 and her lips parted in a burst of song4 ,on the steps of her throne are two little geniuses1 one writing down her words on a tablet1 and the other raising his arms in sympathy as he joins in the rhythmical swing of her song4 ,the first may be taken as personifying the more strictly literary and reflective side of poetry1 and the other as standing for its feeling for harmony and music1 or1 in general1 the lyrical element in poetry4 ,in the left-hand portion of the decoration are ,architecture and ,music1 and to the right1 ,sculpture and ,painting--all typified by female figures bearing some appropriate object identifying the art which they represent4 ,architecture is conceived as the sternest and most dignified of the arts1 as shown by her expression of proud abstraction and the severe lines of her drapery4 ,she holds a miniature marble column1 and her head is crowned with a circlet of battlements4 ,music is playing upon a violin1 and looking the while upon the pages of a great music-book which a kneeling genius holds open before her4 ,beside her is a violoncello4 ,sculpture holds a statuette of a nude female figure1 and talks with ,painting1 who has a palette and brushes4 ,the latter1 as representing the gentler and more luxurious art1 is shown partly nude1 and leaning her head affectionately upon the shoulder of her companion4 ,in the corner of the picture are a vase and two large plates in different styles of decorated pottery--standing for the minor decorative arts4 ,illustration3 ,,spring4--,,by ,,bela ,l4 ,,pratt4 ,in the tympanum of ,the ,sciences the central figure is ,astronomy4 ,she holds a pair of compasses1 and leans forward on her throne to make measurements upon the celestial globe which a genius holds up before her4 ,another genius to the right looks through a telescope4 ,to the left of the panel are ,physics and ,mathematics4 ,physics holds an instrument designed to show the law of the balance of different weights at different distances from the point of support4 ,mathematics has an abacus1 or counting-frame1 with which she is instructing a little genius in the elements of figures4 ,the beads of the abacus are so placed that they give the date1 8#ahif0--the year the picture was painted4 ,beside her1 in the extreme left-hand corner1 are various figures illustrating plane and solid geometry4 ,the former kind are so arranged1 as the visitor will see by looking carefully1 that they form all the letters of the artist's name--,,kenyon ,,cox4 ,on the other side of the throne are ,botany1 bearing a young oak tree1 and wearing a green and white figured gown2 and ,zology1 a nude figure holding out her hand to caress a magnificent peacock perched on the coping of the balustrade4 ,in the corner are a shell and various kinds of minerals1 for ,conchology1 ,mineralogy1 ,geology1 and so forth4 ,on tablets over the doors and windows are the names of men distinguished in ,science and ,art4 ,those representing ,art are ,wagner1 ,mozart1 ,homer1 ,milton1 ,raphael1 ,rubens1 ,vitruvius1 ,mansard1 ,phidias1 and ,michael ,angelo4 ,the ,scientists are ,leibnitz1 ,galileo1 ,aristotle1 ,ptolemy1 ,dalton1 ,hipparchus1 ,herschel1 ,kepler1 ,la ,marck1 and ,helmholtz4 ,,the ,,pavilion ,,of ,,the ,,discoverers4 ,the ,southwest ,pavilion--or the ,pavilion of the ,discoverers1 as it may better be called1 from the subject of the paintings with which it is ornamented--opens immediately from the ,southwest ,gallery4 ,the domed ceiling is richly coffered and profusely ornamented with gilding1 except for a large central space in the form of a disc1 which contains a painted decoration4 ,below the dome are four tympanums1 also occupied by paintings4 ,the walls are ornamented with paired pilasters1 bearing a narrow frieze decorated with lions' heads and festoons of garlands4 ,mr4 ,pratt's ,bas-,reliefs4--,in the pendentives is a series of four large circular plaques in relief1 representing ,the ,seasons4 ,the series1 which is repeated in each of the other three pavilions1 is the work of ,mr4 ,bela ,l4 ,pratt4 ,spring is the figure of a girl sowing the seed1 her garment blown into graceful swirls by the early winds of ,march4 ,summer is a maturer figure1 sitting1 quiet and thoughtful1 in a field of poppies4 ,autumn is a mother nursing a baby4 ,an older child--a little boy--stands beside her1 and the abundance and fruitfulness of the season are still further typified in the ripe bunches of grapes which hang from the vine4 ,winter is an old woman gathering faggots for the hearth4 ,behind her is a leafless tree1 on which is perched an owl4 ,a garland appropriate to the season hangs over each of the four plaques--fruits for ,spring and ,summer1 grains for ,autumn1 and oak leaves and acorns for ,winter4 ,illustration3 ,,central ,,group ,,of ,,discovery4--,,george ,w4 ,,maynard4 ,mr4 ,maynard's ,paintings4--,the paintings in the tympanums and the disc are the work of ,mr4 ,george ,w4 ,maynard1 whose panels in the ,main ,entrance ,hall have already been described4 ,in the tympanums the sequence of ,mr4 ,maynard's subjects begins on the east side and continues to the right1 as follows3 ,adventure1 ,discovery1 ,conquest1 ,civilization--the bold roving spirit of ,adventure leading to ,discovery1 which in turn results in ,conquest1 bringing at last a settled occupation of the land and final ,civilization4 ,in the disc of the ceiling1 ,mr4 ,maynard has depicted the four qualities most appropriate to these four stages of a country's development--,courage1 ,valor1 ,fortitude1 and ,achievement4 ,since the tympanums are the same in shape and of the same size1 measuring each thirty-one feet by six1 and since all stand in the same relation toward the whole room1 ,mr4 ,maynard has followed throughout a single method of arrangement4 ,each tympanum is over three doors or three windows1 as the case may be4 ,in accordance1 therefore1 with this exactly balanced architectural scheme1 a pyramidal group of three female figures--pyramidal because any other form would have looked top-heavy--is placed above the central opening4 ,balancing or1 so to say1 subsidiary figures1 which1 if only from their position at the diminishing ends of the tympanum1 are necessarily of less importance1 are placed over the doors or windows to the side4 ,thus the decoration is poised in complete accordance with the disposition of the wall which it crowns4 ,the figures at the ends1 it will be noticed1 are of two sorts1 mermaids and emblazoned shields2 but since they alternate in pairs from tympanum to tympanum1 the shields occurring in the east and west and the mermaids in the north and south1 this variety serves very well to accentuate the unity of the composition of the four paintings4 ,the ornament1 also1 is the same in its more important features3 the throne in the centre1 flanked by cornucopias2 the arabesque border with its dolphins1 suggestive of seafaring2 and the lists of names of discoverers and colonizers which occupy the spaces to the right and left of the central group1 and serve to draw together the whole composition4 ,it would be well if the visitor were to hold in mind these points1 for in the two following pavilions on this floor1 where the conditions governing the painter are exactly the same as in the present room1 it will be seen that the artists employed have followed in their work the same orderly and logical plan of arrangement which ,mr4 ,maynard has here adopted4 ,in the first tympanum1 ,adventure1 seated on her throne1 holds in her right hand a drawn sword1 in instant readiness for the combat2 her left hand rests upon an upright caduceus1 the emblem of ,mercury1 the god of the traveller1 merchant1 and thief1 and fit1 therefore1 to be the patron of the restless adventurers who sailed westward in the sixteenth century1 impelled as well by a desire for booty as for legitimate trade4 ,to the right and left are seated female figures1 representing respectively ,spanish and ,english adventure--the two countries which furnished ,america with the largest part of its early buccaneers and adventurers4 ,like the central figure1 the two are clad in rich and elaborate armor1 accurately copied1 as is that in the other tympanums1 from authentic sixteenth-century models4 ,the figure to the left1 typifying ,england1 holds a cutlass in her right hand1 while her left hand buries itself in a heap of pieces-of-eight1 the pirate and buccaneering coin par excellence4 ,the companion figure to the right holds a battle-axe in her right hand1 and in her left one of the little figurines1 or miniature idols of gold1 which the ,spaniards in ,peru sought so eagerly1 and with so much cruelty1 to secure from the natives4 ,at either side of the throne is a shield1 on which an old ,norse ,viking ship1 propelled by oars and sail1 is depicted4 ,at either end of the tympanum is a shield1 that to the right bearing the arms of ,spain1 and that to the left those of ,england4 ,on the ,spanish side of the decoration is the following list of names of ,spanish adventurers3 ,diaz1 ,narvaez1 ,coello1 ,cabeza1 ,verrazano1 ,bastidas4 ,on the other side is the ,english list3 ,drake1 ,cavendish1 ,raleigh1 ,smith1 ,frobisher1 ,gilbert4 ,each group of names is surmounted by the heraldic form of the naval crown1 ornamented with alternate sterns and squaresails of ships1 which was given by the ,romans to a successful naval commander1 or to the sailor who first boarded an enemy's ship4 ,in either corner of the tympanum still another emblem of sea-power1 the trident1 is introduced4 ,illustration3 ,,ceiling ,,disc4--,,george ,w4 ,,maynard4 ,in the second tympanum1 ,discovery1 crowned with a laurel wreath of gold and wearing a leather jerkin1 sits on her throne1 holding a ship's rudder in her right hand1 and with her left upon a globe of the earth1 which is supported on her knee4 ,the rude map of ,america1 which appears on it1 is copied from a portion of a mappemonde1 or chart of the world1 which was discovered a few years ago in ,england1 and which has been ascribed to ,leonardo da ,vinci4 ,it dates from the second decade of the sixteenth century4#ab ,the two seated figures to the right and left are clad in armor2 the first holds a sword and 8,jacob's staff10 or cross staff1 a device used by the early navigators instead of a quadrant or sextant to determine the altitude of the sun and stars4 ,the figure to the left1 with paddle and chart1 points towards the distance with outstretched arm1 and turns to her companions to beckon them onwards4 ,the two shields at the foot of the throne bear an astrolabe1 an obsolete instrument used for the same purpose as the cross staff4 ,at either end of the tympanum1 a mermaid1 with a seashell for cap1 and with seaweed twined about her body1 invites the voyagers with strings of pearls and coral4 ,lists of names occur at the left and right1 surmounted1 as before1 with the naval crown4 ,the first list is3 ,solis1 ,orellana1 ,van ,horn1 ,oieda1 ,columbus1 ,pinzon2 the second1 ,cabot1 ,magellan1 ,hudson1 ,behring1 ,vespucius1 ,balboa4 ,in the third tympanum1 that of ,conquest1 the idea expressed in the central group is that of the proud tranquillity which follows triumph in battle4 ,the figures carry the insignia of victory4 ,the one seated upon the throne has pushed back her casque and lets her left hand hang idly over the crosspiece of the sword4 ,but there is still danger of a renewal of the struggle2 the right hand rests clenched upon an arm of the throne1 the armor has not yet been laid aside1 and the sword not yet sheathed4 ,the figures to the left and right are in a like attitude of readiness1 though they carry in addition to their swords the emblems of peace--the first1 representing ,southern ,conquests1 a sheaf of palms2 and the second1 representing ,northern ,conquests1 chaplets of oak-leaves1 which wreathe her casque and sword4 ,the two shields bear a heraldic representation of the ,pillars of ,hercules1 with the motto ,ne plus ultra twined about them1 and between them1 in the distance1 the setting sun--perhaps an ironical allusion to the ancient idea which set the limits of the earth at the ,straits of ,gibraltar1 or perhaps simply an adaptation and extension of it to the new conditions of knowledge4 ,at the ends of the tympanum the arms of ,england and ,spain are again introduced1 as significant of the general division of ,north and ,south ,america into ,english and ,spanish territory4 ,the names to the left are3 ,pizarro1 ,alvarado1 ,almagro1 ,hutten1 ,frontenac1 ,de ,soto2 to the right1 ,cortes1 ,standish1 ,winslow1 ,phipps1 ,velasquez1 ,de ,leon4 ,over each group is the battlemented mural crown given by the ,romans to the soldier who first succeeded in planting a standard upon the wall of a besieged city4 ,the fourth tympanum1 ,civilization1 is the flowering of the other three4 ,the armor has been laid aside1 and the three figures in the centre are clad simply in classic garments4 ,civilization1 crowned with laurel and seated on her throne1 holds up the torch of learning1 or enlightenment1 and displays the opened page of a book--an idea which is repeated in the lamp and book which compose the device on the two shields below4 ,to the left is ,agriculture1 crowned with wheat1 and holding a scythe and a sheaf of wheat4 ,to the right is ,manufactures with distaff and spindle1 twisting the thread4 ,the mermaids at the ends of the decoration hold up1 one an ear of corn1 and the other a branch of the cotton-plant bearing both the flower and the boll--the two chief products respectively of the northern and the southern portions of our country4 ,the names are3 to the left1 ,eliot1 ,calvert1 ,marquette1 ,joliet1 ,ogelthorpe1 ,las ,casas2 and to the right1 ,penn1 ,winthrop1 ,motolinia1 ,yeardley1 ,la ,salle4 ,over each list is a wreath of laurel4 ,mr4 ,maynard has represented in the ceiling the four qualities most pertinent to the character of his four tympanums4 ,all four are shown as female figures1 displayed against a background of arabesque4 ,the first1 ,courage--a brute1 animal courage--is clad in a coat of coarse scale-armor1 over which a lion's skin is drawn1 the head of the beast serving her for a cap4 ,she is armed with a war-club and a shield4 ,the next1 ,valor1 is a nobler figure1 more beautiful and wearing more beautiful armor4 ,her right hand holds a sword1 and her left is pressed to her breast4 ,the third1 ,fortitude1 is unarmed4 ,in her left arm she carries an architectural column1 the emblem of stability4 ,achievement1 the last1 is clad in armor1 but is without offensive weapon4 ,she wears a laurel crown1 and in her left hand she carries the ,roman standard1 surmounted by its eagle and laurel wreath1 the symbol of a strong and just government4 ,in the order named1 therefore1 it will readily be seen how these figures may be said to typify the successive tympanums of ,adventure1 ,discovery1 ,conquest1 and ,civilization4 ,,the ,,pavilion ,,of ,,the ,,elements4 ,in the same way that the room decorated by ,mr4 ,maynard has been called the ,pavilion of the ,discoverers1 so the ,southeast ,pavilion may be called the ,pavilion of the ,elements1 from the subject of the paintings ornamenting the tympanums and the disc4 ,the tympanums are by ,mr4 ,robert ,l4 ,dodge1 and the disc by ,mr4 ,garnsey and ,mr4 ,dodge working in conjunction1 the former making the ornamental design and the latter designing and carrying out the figure-work4 ,mr4 ,r4 ,l4 ,dodge's ,paintings4--,each of the four tympanums is devoted to a single ,element3 the east tympanum to ,earth1 the north to ,air1 the west to ,fire1 and the south to ,water4 ,the composition1 which is very simple1 is uniform throughout4 ,in the middle of the tympanum is a group of three figures typifying the subject of the decoration--the central figure standing and the other two seated4 ,the latter are of women1 but to prevent monotony1 the standing figures are alternately male and female--male in the tympanums of ,earth and ,fire1 and female in those of ,air and ,water4 ,the central figure holds up in either hand an end of a heavy garland of flowers1 which1 stretching in a single festoon to the extremity of the tympanum1 is there caught up by a little boy or genius4 ,in the middle of each half of the picture1 and in each tympanum the same on both sides1 is an ornamental bronze column flanked on either hand by a bronze standard or tripod1 all three united by floating streamers or ribands into a single group1 and each serving as a pedestal on which to place some emblems of the ,element represented4 ,in the tympanum of ,earth the idea is the fertility and bounteousness of the soil4 ,in the central group the figure to the right leans her arm upon an amphora or ancient wine-jar1 and holds in her hand a rose4 ,the figure to the left is that of a reaper1 with a wreath of grains on her head and a bundle of wheat by her side1 and holding in her hand a sickle4 ,the geniuses at the ends of the decoration are dancing for jollity4 ,the background is a smiling and luxuriant summer landscape1 the fruits of which1 the peach1 the plum1 the pear1 the grape and the rest1 are displayed in the great garlands which the central figure holds up with outstretched arms4 ,the bronze columns support baskets of fruit1 and on the accompanying standards are perched magnificent peacocks4 ,the border of the decoration includes masks1 urns and lions1 the last emblematic of the subject of the decoration4 ,the central figure in the decoration typifying ,air stands upon a bank of clouds2 she is winged1 and a large star blazes on her forehead4 ,of the figures to her right and left1 the first is winged and the second carries the caduceus4 ,the festoons are of morning glories1 upheld at the further ends by flying geniuses4 ,the background is sky and clouds4 ,the central standards carry astrolabes1 as being the typical astronomical instrument of a few centuries ago1 and eagles are perched on those to the side4 ,in the border1 winged griffins are substituted for lions4 ,the background of the third tympanum1 ,fire1 is a mountainous and volcanic region1 its peaks touched with lurid light from constant eruptions4 ,the festoons are composed of sunflowers1 and the seated figures in the centre carry each a flaming torch4 ,the columns to the right and left bear flaming globes1 while the flanking standards support the fiery nest of the phnix--the bird which was fabled by the ancients to live1 sole of its species1 five hundred years1 at the end of which time it repaired to the desert and built a funeral pyre1 in the flames of which it was consumed4 ,from its ashes as a nest a new phnix arose1 as here depicted4 ,in the border of the decoration are salamanders1 which1 according to the old superstition1 lived in the midst of fire4 ,in the last tympanum1 ,water1 the central figure1 clad in green1 holds festoons of seaweed and water-lilies--flowers1 buds and pads4 ,on either side is a mermaid1 one of them with a seashell4 ,the background is the open sea4 ,the standards are in the form of rostral columns 7such as the ,romans erected in honor of their victorious admirals7 ornamented with garlands of laurel and the beaks and sterns of captured ships4 ,on top is set a galley1 with oars and sails4 ,over each of the standards to the side hovers a sea gull4 ,the geniuses at the end of the picture have tails like mermaids1 and in the border are dolphins4 ,the disc of the ceiling repeats in another form the general idea of the decorations of the tympanums4 ,in the centre is the sun1 across which the sun-god1 ,apollo1 drives his four-horse chariot4 ,the sun1 however1 is still the sun1 and not a yellow background2 the dusky picture outlined against it is to be taken as a vision1 so to say1 of its attributes4 ,around the sun as a centre1 is painted a chain of alternate medallions and cartouches--four of each1 or eight in all--which typify the ,four ,elements represented in the tympanums below4 ,a medallion and a cartouche are devoted to each4 ,the former sort are painted so as to suggest a cameo design4 ,the first of them1 which occurs1 like the other three1 on the side nearest the tympanum of the corresponding subject1 typifies ,earth1 a female figure reclined amidst a summer landscape4 ,in her hand is a scythe1 and behind her is a plow1 standing in the midst of a wheat field4 ,water is a mermaid riding off a rocky shore on the back of a dolphin4 ,in her hand she holds an oar4 ,fire is a woman watching the smoke which floats away from the flame of a little brazier at her side4 ,behind her is a tripod on which incense is burning4 ,in the distance is ,mt4 ,vesuvius1 sending out a steady cloud of smoke1 and in the plain beneath are the ruins of ,pompeii4 ,air is a female figure clad in flowing drapery1 and floating among the clouds on the outstretched wings of an eagle4 ,the cartouches are more simply designed4 ,that of ,earth contains a tortoise1 on the back of which1 according to the ,hindoo mythology1 the earth is ultimately supported4 ,air is typified by a swan2 ,fire1 by a lamp2 and ,water by two intertwined dolphins4 ,finally the whole decoration is surrounded by a broad band of arabesque ornament1 in which are placed the signs of the ,zodiac4 ,,the ,,pavilion ,,of ,,the ,,seals4 ,the third of the second-story pavilions is the ,pavilion of the ,seals1 at the northeast corner of the building4 ,the walls in this room1 it may be noted1 are treated differently from those of the other three pavilions4 ,instead of the frieze and the paired pilasters1 one has wall-surfaces covered with gilding and ornamented with painted laurel-bands arranged in regular patterns recalling the designs of the parterres of an old-fashioned garden4 ,illustration3 ,,fire4--,,by ,r4 ,l4 ,,dodge4 ,illustration3 ,,state ,,and ,,treasury4--,,by ,w4 ,b4 ,,van ,,ingen4 ,the paintings in the tympanums are by ,mr4 ,w4 ,b4 ,van ,ingen1 and illustrate the seals of the various ,executive ,departments of the ,united ,states ,government4 ,the disc of the domed ceiling was designed by ,mr4 ,garnsey1 and shows the ,great ,seal of the ,united ,states surrounded by allegorical emblems4 ,mr4 ,van ,ingen's ,paintings4--,as in the previous pavilions on this floor1 the general arrangement of the decoration is the same in all four tympanums4 ,in each the artist has introduced a low terrace or wall of masonry running from end to end1 thus serving both to ballast the picture1 as it were1 and to bind its parts more strongly together4 ,a recess in the centre of the terrace allows space for a circular tablet1 painted to represent wood1 about six feet in diameter1 or nearly the height of the tympanum4 ,on this are inscribed1 as if in raised letters1 one or more quotations from the writings or speeches of great ,american statesmen4 ,these were selected by the ,librarian1 ,mr4 ,spofford1 mainly for their general patriotic application1 but1 of course1 as far as possible with some special reference to the subject of the decoration4 ,the border of each tablet1 as of the decoration itself1 is a band of laurel-leaves1 suggested by the laurel-roll which outlines the disc of the ceiling4 ,on either side of the tablet is a female figure1 seated against the terrace1 personifying a ,department of the ,government1 in token of which she supports a shield or cartouche on which the seal of that ,department is conspicuously displayed4 ,the visitor will notice that these figures 7in this respect like ,mr4 ,reid's in the ,entrance ,hall7 illustrate the ,american type of woman1 and wear modern gowns and not conventional ,greek or ,roman drapery4 ,the two figures and the tablet between form the necessary central pyramidal composition4 ,for a limit and balance to the decoration the artist has painted1 at either end1 a cypress-tree and1 in all but one of the tympanums1 one or two nude children or geniuses1 usually engaged in some action which shall be useful in explaining the purport of the picture1 the meaning of which is still further brought out1 in most cases1 by introducing into the background a well known monument or building1 or some conventional object1 suggestive of the functions of the ,department represented4 ,the west tympanum is devoted to the ,department of the ,treasury and the ,department of ,state2 the north tympanum to the ,department of ,justice and the ,post-,office ,department2 the east tympanum to the ,departments of ,agriculture and the ,interior2 and the south tympanum to the ,war and ,navy ,departments4 ,half a tympanum is devoted to each4 ,the ,department of the ,treasury--to begin with the one first named in the above list--is sufficiently indicated by the introduction of the ,treasury ,building in the background4 ,two children are playing on the parapet1 one of them with his foot on a strong-box4 ,the background of the other portion of the tympanum--illustrating the ,department of ,state--exhibits the dome and west front of the ,capitol and1 to the right1 the ,washington ,monument4 ,the vital thing about a nation--that which it is the first business of a ,department of ,state to help preserve--is its independence4 ,the ,monument may be taken1 therefore1 as standing for the establishment of that independence1 and the ,capitol for its maintenance4 ,a dog1 typical of fidelity1 lies in the foreground4 ,the cypress trees1 it may be noted before passing to the next tympanum1 are introduced purely for their decorative effect1 and are without any symbolical meaning4 ,in all the decorations they are set in jars copied from ,zui originals in the ,national ,museum4 ,in the north tympanum1 the figure of ,justice is clad in ermine4 ,on the terrace is a high bronze standard1 carrying a pair of evenly balanced scales4 ,the genius at the left holds a measuring rod1 for exact justice4 ,in the other half of the painting1 devoted to the ,post-,office ,department1 the genius is represented with a pair of compasses marking out mail routes on a globe4 ,mercury was the ,messenger of the ,gods1 according to classic mythology1 and a bronze statue of him with his winged sandals1 staff1 and cap1 is appropriately set upon the stone terrace to typify the dispatch and celerity of the ,department4 ,illustration3 ,,ceiling ,,disc4--,,by ,,elmer ,e4 ,,garnsey4 ,agriculture1 in the next tympanum1 is symbolized solely in the fertile and well cultivated landscape which forms the background of her portion of the decoration4 ,the chief duty of the ,department of the ,interior--to protect and control the ,indians--is indicated in the background of the other half of the picture by a representation of the curious method of burial1 if one may use the word1 which prevails among certain of the western tribes--the body1 lashed to a few poles for a bier1 being laid away in the branches of a tree4 ,in the last tympanum1 that of ,war and the ,navy1 the terrace is nicked and shattered by the bullets of the enemy4 ,the figure to the left1 representing the ,department of ,war1 holds a regulation army sword1 and the figure to the right a naval sword4 ,to the left the two children are engaged in combat2 one is falling1 stained with blood1 while the other presses upon him with a falchion1 or ,roman sword4 ,the corresponding composition to the right is much the same2 the chief difference being the trident which the victor aims at his opponent's breast4 ,war is accompanied by a ,roman standard adapted to an ,american use by altering the old initials 8,s4,p4,q4,r40--8,the ,senate and ,people of ,rome0--to 8,u4,s4,a40 ,in the background is ,bunker ,hill ,monument in ,boston4 ,on the other side are the masts of the recently constructed battleship ,indiana1 and a rostral column of the same sort as those used in the tympanum representing ,water in the ,pavilion of the ,elements1 but in this case copied exactly from the one erected in honor of ,commodore ,decatur and afterwards removed to ,annapolis1 where it is now4 ,the inscriptions on the tablets in the four tympanums may most conveniently be inserted here4 ,in the west tympanum1 that of the ,state and ,treasury ,departments1 the quotations are as follows3-- ',tis our true policy to steer clear of permanent alliance with any portion of the foreign world4--,,washington4 ,let our object be our country1 our whole country1 and nothing but our country4--,,webster4 ,thank ,god ,i also am an ,american4--,,webster4 ,in the north tympanum3-- ,equal and exact justice to all men1 of whatever state or persuasion1 religious or political3 peace1 commerce and honest friendship with all nations--entangling alliance with none4--,,thomas ,,jefferson4 ,in the west tympanum3-- ,the agricultural interest of the country is connected with every other1 and superior in importance to them all4--,,andrew ,,jackson4 ,let us have peace4--,u4 ,s4 ,,grant4 ,in the south tympanum3-- ,the aggregate happiness of society is1 or ought to be1 the end of all government4--,,washington4 ,to be prepared for war is one of the most effective means of preserving peace4--,,washington4 ,mr4 ,garnsey's ,ceiling ,painting4--,the disc of the dome contains one of the most interesting and ingeniously arranged of the purely conventional decorations which ornament the ,library4 ,in the centre is the great seal of the ,united ,states1 which puts the final touch of significance upon the series of paintings in the tympanums4 ,surrounding it is a circular band containing forty-eight stars1 one for each ,state and ,territory4 ,on the diagonal axes of the room are four medallions containing heads symbolizing the ,four ,winds--,north1 ,south1 ,east and ,west--each blowing a gale from his mouth1 as in the classical representations4 ,they stand1 of course1 for the four great natural divisions of the country4 ,below each medallion is a garland of fruits or grains1 festooned from bunches of eagles' feathers which spring from the central panel of the decoration1 and indicating the nature of the products of each section4 ,the garland under the medallion of the ,north ,wind1 for example1 is composed of apples1 pears1 peaches1 and similar fruits2 that under the ,east ,wind1 of various vegetables and berries2 under the ,west ,wind1 grains1 as wheat1 oats1 and maize2 and under the ,south ,wind1 bananas1 pomegranates1 oranges1 lemons1 and so forth4 ,other emblematic objects introduced into the decoration are lyres1 each flanked on either side by a horn of plenty filled with fruits2 and flaming torches1 set between a pair of dolphins4 ,there are thus two sorts of groups1 each of which occurs four times in the decoration in accordance with the standard fixed by the four medallions of the ,winds4 ,the four different objects depicted signify four of the great interests of the country--the lyre1 the ,fine ,arts2 the cornucopia1 ,agriculture2 the torch1 ,learning and ,education2 and the dolphin1 ,maritime ,commerce4 ,finally the composition is united by ,american flags festooned from the lyres to the garlands of fruit which underhang the medallions of the ,winds4 ,and around the whole is a narrow border1 on which are inscribed the following words from ,lincoln's ,gettysburg address1 used also1 in part1 by ,mr4 ,vedder in his decorations in the ,entrance ,hall3-- ,that this nation1 under ,god1 shall have a new birth of freedom2 that government of the people1 by the people1 for the people1 shall not perish from the earth4 ,,the ,,pavilion ,,of ,,art ,,and ,,science4 ,the entablature and paired pilasters which decorate the walls of the two pavilions to the south1 are resumed in the ,northwest ,pavilion1 or ,pavilion of ,art and ,science1 if one choose to name it1 as the three corresponding rooms on this floor were named1 from the subject of the paintings which it contains4 ,mr4 ,w4 de ,l4 ,dodge's ,paintings4--,these paintings1 both in the tympanums and in the ceiling disc1 are the work of ,mr4 ,william de ,leftwich ,dodge4 ,the subjects are as follows3 in the west tympanum1 ,literature2 north tympanum1 ,music2 east tympanum1 ,science2 south tympanum1 ,art2 and in the ceiling disc1 ,ambition1 considered as the incentive of all human effort1 whether in art1 science1 or affairs4 ,comparing them with the other decorations in the ,library1 the visitor will be struck with the unusually large number of figures which ,mr4 ,dodge has introduced into his canvases1 all1 of course1 helping to illustrate some phase of the subject under which they are grouped4 ,throughout1 however1 the meaning is unusually clear1 the special significance of every figure being indicated either by some expressive attitude or action1 or by the introduction of some appropriate and typical object4 ,literature shows a varied group of male and female figures sitting or standing4 ,the scene is along the steps of an old ,greek temple4 ,the ,god of ,letters--or ,apollo1 if one wishes--sits in the foreground holding an open book4 ,behind him is a company of maidens reading in an ancient scroll1 which they unroll from hand to hand4 ,to the right1 a woman is instructing two children in the rudiments of learning4 ,comedy1 a nude and easy figure1 is looking at the ludicrous features of a comic mask1 and ,tragedy stands in an attitude of recitation1 lifting her arms in an emphasizing gesture4 ,in the corner is a little boy working over an ancient hand-press4 ,to the left a poet sits with his head bowed in thought1 perhaps in despair that his verses have not received their due meed of applause2 but ,fame stands behind him holding out the wreath of laurel with which1 after many years1 she means to crown him4 ,further on is another poet1 who1 as he reclines half dreaming on the ground1 is suddenly inspired with the rapture of the ,muse4 ,in the corner is a bust of ,homer1 with a pile of books for pedestal4 ,in ,music1 ,apollo1 as the ,god of ,song and ,harmony1 is seated in the centre of a long marble bench playing upon a lyre4 ,other figures1 variously disposed throughout the panel1 play upon a number of different musical instruments1 illustrating at once the development and present scope of the art4 ,one plays a violin1 two others are blowing trumpets1 a fourth has the double pipes1 another a mandolin--and so on4 ,the central figure of ,science--the background of which is again the columns and marble steps of a temple--is a winged female figure descending through the air to crown the inventor of the phonograph1 who kneels on the steps before her with a simple electrical instrument beside him4 ,more broadly considered1 the group typifies the triumphs of modern electrical science1 summed up indeed1 in the invention of the phonograph1 but including as well the electric telegraph and the telephone4 ,to the right is a man holding the model of a propeller steamship1 and further on a husbandman with his team of horses1 gathering the fruits of ,agriculture4 ,to the left is a table1 on which are set two alembics for ,physics1 and around which is gathered a group of scientists1 one holding a human skull1 which forms the subject of their discussion4 ,the group may be taken to represent the various medical and surgical sciences1 such as ,physiology1 ,anatomy1 and so forth4 ,further to the left is a figure looking at a kite lying on the ground--a reminder of ,benjamin ,franklin's famous electrical experiment with the kite and the key4 ,in the background is a little camp-fire over which a tea-kettle is suspended1 for ,watt's celebrated discovery of the power of steam4 ,art shows a student sketching a nude model4 ,behind him is his instructor criticizing his work4 ,sculpture is symbolized to the left1 and1 to the right1 a young woman is painting a design upon a great ,greek vase4 ,behind her are the capitals of a number of the more familiar orders of ,architecture1 as the ,egyptian and the ,doric4 ,in the painting of ,ambition in the ceiling1 the scene is supposed to be the top of a high mountain1 but only the marble terrace which marks the summit is actually visible in the painting4 ,here is gathered a group which has toiled along a weary path up the mountain side to comparative success2 but none is satisfied4 ,above them1 the ,unattainable ,ideal1 a figure holding aloft in mockery the palm branch of complete achievement1 rides through the air on a great winged horse4 ,in front is ,fame1 grasping the horse's bridle with one hand1 and turning to those below to sound a derisive note on her trumpet4 ,the figures on the mountain top are involved in a scene of mad confusion2 some for the moment are distracted by crime or lust1 or cynical contempt1 but most reach out their arms in ineffectual eagerness to attain the glorious vision above them4 ,they have leapt to the top of the terrace in their fierce desire to gain the slightest advantage4 ,to the left1 a murderer shrinks back in horror from the body of the miser whom he has just slain2 as he starts away1 aghast at his crime1 he topples over a flaming tripod which had been set on a post of the terrace4 ,conspicuous figures in the mad struggle for success are a warrior1 with sword1 greaves1 and helmet1 and a sculptor1 bearing a statuette of the ,venus of ,milo4 ,in front of them is the seated figure of a poet1 with a bandage over his eyes to indicate the abstraction and ideality of his thought4 ,further on1 a man flings out both arms in a mad appeal1 and on the moment is grasped in the arms of a woman1 who drags him back to the level of her own baseness4 ,a jester1 one of ,shakespeare's fools1 in his cap and parti-colored coat1 stands near by1 holding a bauble surmounted by a skull in one hand1 and a statuette of ,victory in the other4 ,that fame comes only after death1 and that the promptings of personal ambition are but a hollow mockery1 is the moral that he preaches4 ,,northwest ,,gallery4 ,from ,mr4 ,dodge's ,pavilion1 one goes into the ,northwest ,gallery1 which leads directly into the ,main ,entrance ,hall once more4 ,in dimensions1 arrangement1 and general architectural scheme it corresponds to the ,southwest ,gallery1 with which the visitor began his tour through the ,rectangle4 ,the prevailing color1 however1 is red1 and not blue1 both in the walls and in the coffers of the vaulted ceiling4 ,mr4 ,melchers's ,paintings4--,at either end1 occupying the same position as ,mr4 ,cox's decorations1 and of the same size and shape1 is a painting by ,mr4 ,gari ,melchers1 illustrating1 at the north1 ,war1 and at the south1 ,peace4 ,the same subjects1 it is interesting to note1 and as many readers will remember1 were chosen by ,mr4 ,melchers for his decorations at the ,world's ,fair in ,chicago4 ,the present paintings may be taken1 therefore1 as representing the development and completion of a favorite idea of the artist4 ,in the panel of ,war1 the scene represented is that of a chieftain of some primitive tribe returning home with his clansmen across a desolate tract of open country from a successful battle4 ,he is crowned with a wreath of laurel1 and sits proudly astride a magnificent white horse4 ,a second horseman rides beside him1 and another a little behind4 ,three men carry a roughly constructed bier on which they are bringing home the dead body of a warrior for burial in his native soil4 ,in the right-hand corner a woman kneels to care for a wounded man who has just sunk exhausted to the ground4 ,behind1 a trumpeter sounds his horn1 exulting in this dearly bought victory4 ,to the left two foot-soldiers carry shields emblazoned with devices of primitive heraldry4 ,one of them holds in a leash two straining bloodhounds1 eager for their kennels1 and leading the way toward home4 ,mr4 ,melchers's other painting1 ,peace1 represents an early religious procession4 ,the inhabitants of some little village1 perhaps in prehistoric ,greece1 have come to the border of a grove bearing the image of their tutelar goddess1 a small seated figure set on a little platform covered with an embroidered cloth4 ,the procession has halted1 and the priest is reading from a paper which he holds in his hand1 containing1 very likely1 a blessing in the name of the goddess upon the fields and orchards of the villagers4 ,various objects1 one of them the model of a ship1 are carried in the procession to be offered up as memorials in the temple of the goddess1 and in the rear a boy leads to the sacrifice a bull wreathed with garlands4 ,the following names--forming a list of the world's most famous generals and admirals--are inscribed in tablets above the doors and windows of the gallery3 ,cyrus1 ,alexander1 ,hannibal1 ,csar1 ,charles ,martel1 ,william the ,conqueror1 ,frederick the ,great1 ,charlemagne1 ,eugene1 ,marlborough1 ,napoleon1 ,wellington1 ,nelson1 ,washington1 ,jackson1 ,scott1 ,grant1 ,farragut1 ,sherman1 and ,sheridan4 ,illustration3 ,,war4--,,by ,,gari ,,melchers4 ,,the ,,rectangle3 ,,first ,,floor ,,corridors4 ,the only rooms on the first story of the ,rectangle which require a special description are the galleries and pavilions stretching from the ,main ,entrance ,hall along the west front of the building4 ,as has been said before1 entrance to these is through two corridors1 leading to the north and south4 ,the corridors look out upon the interior courts2 the floors are of mosaic1 and the walls are painted in simple tones of color with pilasters of ,vermont marble polished to a peculiarly soft and waxy surface4 ,the ceiling is a succession of small domes in white and gold4 ,in the centre of each is a large gilt rosette4 ,around it are hexagonal coffers1 or panels ornamented with painted figures4 ,the broad arches between are decorated with coffers and panels in relief1 and1 finally1 the tympanums beneath the domes 7one at either end of the corridor1 and seven along the west wall7 are occupied with panels representing1 in the corridor to the south1 which the visitor is now supposed to have entered1 ,the ,greek ,heroes4 ,mr4 ,mc,ewen's ,paintings4--,the series is the work of ,mr4 ,walter ,mc,ewen4 ,the special subjects are incidents1 as related in ,greek mythology1 in the lives of the following heroes1 taking the paintings in order from north to south3 ,paris1 ,jason1 ,bellerophon1 ,orpheus1 ,perseus1 ,prometheus1 ,theseus1 ,achilles1 and ,hercules4 ,paris1 son of ,priam1 ,king of ,troy1 was brought up as a shepherd on ,mt4 ,ida4 ,when a dispute arose among the three goddesses1 ,juno1 ,minerva and ,venus1 as to who should possess a golden apple inscribed 8,to the ,fairest10 which ,eris 7,strife7 had flung in the midst of an assembly of the deities1 ,paris was selected by ,jupiter to decide their quarrel4 ,he awarded the apple to ,venus1 who promised him the most beautiful woman in the world to be his bride4 ,hearing of the charms of ,helen1 wife of ,menelaus1 ,king of ,sparta1 ,paris sailed to ,greece1 and by the aid of ,venus carried her away to ,troy--thus provoking the expedition of the ,grecian chiefs1 and the ten years' siege of ,troy4 ,mr4 ,mc,ewen's painting shows ,paris at the court of ,sparta1 conversing with ,menelaus1 while ,helen sits listening beside her husband4 ,illustration3 ,,corridor ,,of ,,the ,,special ,,reading ,,rooms4 ,pelias1 ,king of ,iolchos in ,thessaly1 was warned by the oracle to beware of his nephew ,jason4 ,he therefore sent him in search of the ,golden ,fleece4 ,this had belonged to a ram which had miraculously carried ,phryxus and ,helle1 a brother and sister in danger of their lives through the cruelty of a stepmother1 across the sea to ,colchis4 ,here1 when the ram died1 ,phryxus hung up its fleece in the grove of ,mars1 where it was guarded by a sleepless dragon4 ,jason accepted the quest1 and is here shown inviting the ,grecian heroes to join in the voyage which he is to make to ,colchis in the ship ,argo--to enroll themselves in the famous band of the 8,argonauts40 ,the third painting shows ,bellerophon receiving from ,minerva a golden bridle with which he may guide the winged horse1 ,pegasus4 ,the hero had incurred the dislike of his kinsman1 ,proteus1 ,king of ,argos1 who sent him with a sealed message to ,iobates1 ,king of ,lycia4 ,the message desired ,iobates to cause ,bellerophon to be slain4 ,being unwilling to do this directly1 ,iobates sent him to encounter the ,chimra1 a horrible monster1 part lion1 part goat1 and part serpent1 which was devastating his domains1 and which had overpowered all who had ventured to attack it4 ,by the help of ,minerva and the winged horse1 ,bellerophon was successful4 ,orpheus1 who charmed with his song the rocks1 the trees1 the wild beasts1 and even the infernal powers1 incurred the wrath of ,bacchus1 whose divinity he refused to worship4 ,bacchus therefore inflamed his priestesses1 the ,mnads1 or ,bacchantes1 against the poet1 who was slain1 as here represented by ,mr4 ,mc,ewen1 in one of their orgies4 ,perseus was the son of ,jupiter and ,dana4 ,dana's father had heard that his daughter's son would be the cause of his death4 ,he therefore set the mother and child afloat in the sea in a chest1 which was safely cast upon the island of ,seriphos1 the ruler of which was ,polydectes4 ,by the time ,perseus had grown to manhood1 ,polydectes had fallen madly in love with ,dana1 and1 fearing lest ,perseus should be a bar to his passion1 he ordered him to cut off the head of the ,gorgon ,medusa1 whose face turned to stone everyone who looked upon it4 ,assisted by ,minerva1 ,perseus succeeded in his adventure4 ,returning to ,seriphos he found ,dana persecuted by ,polydectes1 and1 appearing at the palace of the king while he and his court were sitting at dinner1 he drew the head of ,medusa from his wallet and turned the whole company into stone4 ,illustration3 ,,prometheus ,,and ,,pandora4--,,by ,,walter ,mc,e,w,e,n4 ,prometheus is represented as warning his brother ,epimetheus not to accept ,pandora from the gods4 ,prometheus1 who1 with his brother1 was the first of mankind1 had outwitted ,jupiter in the matter of offering sacrifices2 ,jupiter1 in return1 had withheld fire from earth4 ,prometheus1 however1 secured it by stealth from heaven1 and ,jupiter in revenge formed ,pandora1 the first woman1 and sent her to become the bride of ,epimetheus4 ,epimetheus disregarded his brother's advice and took ,pandora and with her the fatal box1 which1 when opened1 let loose a cloud of evils to torment1 with only delusive ,hope to console1 mankind4 ,theseus is directed by ,minerva to leave ,ariadne1 who sleeps beside him1 and proceed to ,athens alone4 ,athens had been compelled for years to send an annual tribute of youths and maidens to ,minos1 king of ,crete1 to be devoured by the ,minotaur1 a savage monster1 half bull1 half man1 who was confined in a ,labyrinth4 ,theseus voluntarily sailed on the tribute-ship1 and reaching ,crete gained the love of the daughter of ,minos1 ,ariadne1 by whose aid he was enabled1 after slaying the ,minotaur1 to find his way out of the ,labyrinth4 ,returning1 he bore ,ariadne away with him1 but deserted her at the island of ,naxos1 as here depicted1 at the command of ,minerva4 ,there she was found by ,bacchus1 who made her his bride4 ,illustration3 ,,paris ,,and ,,helen4--,,by ,,walter ,mc,e,w,e,n4 ,achilles1 disguised as a maiden1 and living among the women of the court of ,lycomedes1 king of ,scyros1 is discovered by ,ulysses4 ,thetis1 the mother of ,achilles1 had been forewarned that her son would die an early death1 as it turned out afterwards that he did1 being slain by ,paris before the walls of ,troy4 ,she therefore dipped him1 while still an infant1 in the ,river ,styx4 ,he was thus made invulnerable in every part of his body except his heel1 by which his mother had held him1 and which therefore remained unaffected by the sacred water4 ,to make assurance doubly sure1 ,thetis sent him to ,lycomedes to be reared as a maiden1 far from the dangers of war4 ,when the ,greeks were arming for the siege of ,troy1 the oracle informed them that without ,achilles the city could never be taken4 ,the crafty ,ulysses was therefore sent in search of him4 ,he arrived at the court of ,lycomedes disguised as a pedler1 bearing in his basket weapons of war and feminine trinkets4 ,showing these among the women1 all were eager to examine the ornaments2 ,achilles clutched at the sword and shield1 thus discovering himself immediately to the keen eye of ,ulysses4 ,hercules was sold as a slave by ,mercury to ,omphale1 ,queen of ,lydia4 ,they became enamored of each other1 and ,hercules1 to please her1 wore female garments1 and spun among the female slaves4 ,the artist here exhibits him aiding the queen in her task4 ,,the ,,house ,,reading ,,room4 ,mr4 ,mc,ewen's corridor opens directly into a richly decorated gallery1 serving as a special reading room for members of the ,house of ,representatives4 ,no apartment in the ,library is more lavishly and sumptuously ornamented4 ,the floor is dark quartered oak2 the walls have a dado of heavy oak panelling about eleven feet high2 and the deep window-arches are finished entirely in the same material4 ,above the dado the walls are hung with olive green silk4 ,the ceiling is beamed and panelled1 and is finished in gold and colors1 with painted decorations in the panels1 and encrusted conventional ornament in cream white along the beams4 ,over the three doors are carved oak tympanums1 by ,mr4 ,charles ,h4 ,niehaus1 comprising two different designs--the first a central cartouche bearing an owl1 and supported on either side by the figure of a seated youth2 the other1 the ,american eagle flanked by two cherubs4 ,at either end of the room is a magnificent mantel of ,sienna marble4 ,over the fireplace is a large mosaic panel by ,mr4 ,frederick ,dielman1 representing1 at one end of the room1 ,law1 and at the other1 ,history4 ,above is a heavy cornice1 supported on beautiful columns of ,pavannazzo marble1 the general color of which is gray instead of yellow1 but with a system of veining which agrees very well with that of the ,sienna4 ,in the centre of the cornice is a small cartouche1 of green onyx in the mantel to the south1 and of labradorite1 or ,labrador spar1 in the other1 the latter stone being remarkable for its exquisite gradations of deep peacock-blue1 continually changing with the light and the point from which it is seen4 ,illustration3 ,,the ,,house ,,reading ,,room4 ,mr4 ,dielman's ,mosaics4--,mr4 ,dielman's mosaic panels are of the same size and shape1 each being seven and a half feet wide and three feet seven inches high4 ,they were executed in ,venice1 which for generations has been celebrated for the delicacy1 accurate coloring1 and nicety of fitting1 of its mosaics4 ,the process and methods used in this work are much the same as in the ordinary sorts of mosaic--such as would be required for a ceiling1 for example--although1 of course1 the pieces1 or tesser1 must be fitted with much greater care and patience1 so that every piece may take its place in a perfect gradation of color4 ,the work of the painter consisted in making full size cartoons in the exact colors desired in the mosaic2 from these the ,italian workmen prepared the finished panels1 and sent them to this country ready to be put in place4 ,the cartoons1 however1 were necessarily painted as much as possible in simple outlines and shades of color1 for1 although the ,italian shops are said to have at their command enamels of no less than twenty-five thousand different tints1 it would be obviously impossible with such a material to reproduce exactly every variation of tone and line of which the brush is capable4 ,certain refinements of technique1 therefore1 and more especially the vagueness of color which is often so desirable in the painted canvas1 must be avoided in a cartoon made for such a purpose as ,mr4 ,dielman's4 ,illustration3 ,,history4--,,by ,,frederick ,,dielman4 ,the mosaic at the north end of the room represents ,law1 typified by a young and beautiful woman seated on a massive marble throne and holding in one hand a sword with which to chastise the guilty1 and in the other a palm branch with which to reward the meritorious4 ,her head is surrounded by a glory1 and she wears on her breast the gis of ,minerva to signify that she is clad in the armor of righteousness and wisdom4 ,on the steps of her throne are the scales of ,justice and the book of ,law1 and a pair of white doves emblematic of mercy4 ,the visitor will notice that ,mr4 ,dielman's conception of ,law includes the conventional typification of ,justice1 but at the same time slightly differs from it4 ,the reason is that he has wished to indicate not only the judicial but the legislative side of ,law2 hence the freer air of command1 and1 in particular1 the outdoor landscape of woods and hills1 signifying a less restricted authority than that of the courtroom4 ,such a typical symbol of ,justice as the scales is less conspicuously introduced1 and the usual globe is entirely omitted4 ,to the left of the central throne are three figures representing1 as one may see by the names in the streamer above them1 respectively ,industry1 ,peace1 and ,truth1 the friends and supporters of ,law2 while to the left ,mr4 ,dielman introduces three other figures typifying ,fraud1 ,discord and ,violence1 the enemies of ,law4 ,industry and ,violence are represented as male figures2 the other four as female4 ,very appropriately1 the first group seems to be advancing unafraid toward the throne of the ,goddess2 while the figures to the right shrink terrified from her presence4 ,the emblems which distinguish the various figures are easily understood3 ,industry with a wheel and hammer2 ,peace with an olive-branch and crown of olive2 ,truth with the lilies2 ,fraud1 represented as a withered hag2 ,discord1 with disordered hair and garment1 and holding a pair of knotted serpents2 and ,violence1 in a steel cap with the blazing torch lying on the ground before him4 ,illustration3 ,,government4--,,by ,,carl ,,gutherz4 ,mr4 ,dielman's second panel represents ,history4 ,the titular figure1 that of a woman of great charm and beauty1 stands in the centre holding a pen and a book4 ,on either side are marble tablets bearing the names of great historians--,herodotus1 ,thucydides1 ,polybius1 ,livy1 ,tacitus1 ,baeda1 ,comines1 ,hume1 ,gibbon1 ,niebuhr1 ,guizot1 ,ranke1 ,bancroft1 ,motley4 ,at the foot of one tablet is a laurel wreath1 for peace1 and on the other side an oak wreath1 for war--the twin topics of history--each accompanied by a palm branch1 the general reward of success4 ,on either side of the panel extends a marble bench on which are seated two female figures representing ,mythology and ,tradition1 the predecessors of history4 ,mythology1 the expounder of the ancient tales of the gods and heroes1 stands for theories of the system of the universe1 in token of which she holds in her right hand a globe of the earth4 ,beside her is a sphinx--the female sphinx of the ,greeks1 not the male sphinx of ,egypt--suggesting the eternally insoluble ,riddle of the ,world4 ,at the other end of the panel1 ,tradition1 an aged granddame1 relates her oldwives' tales to the boy who sits listening before her4 ,the figure represents the whole body of medival legend and folk-tale4 ,reminders of a past age are brought out in the distaff she holds in her lap1 the ,romanesque capital on which the boy sits1 the harp he holds in his hand--with its reference to the wandering minstrel of the ,middle ,ages and his store of tales--and in the shield1 very likely the text of the story which is being told1 which leans against the tablet4 ,in the background of the panel1 seeming to float amidst the clouds1 are three ancient buildings1 an ,egyptian pyramid1 a ,greek temple1 and a ,roman amphitheatre--signifying the three nations of antiquity in which ,history was most highly developed4 ,mr4 ,gutherz's ,paintings4--,along the centre of the ceiling are seven panels containing decorations by ,mr4 ,carl ,gutherz1 representing ,the ,spectrum of ,light4 ,each of the seven colors shown in the spectrum is typified by a central figure standing for some phase of achievement1 human or divine4 ,other features of the panel are two cherubs in each corner1 representing arts or sciences1 and a series of eight escutcheons1 one with the title of the decoration1 and the other containing the seals of the various ,states1 the whole being combined in a single arabesque pattern by an elaborate design of scroll ornamentation4 ,illustration3 ,,oak ,,doorhead4--,,senate ,,reading ,,room4 ,,by ,,herbert ,,adams4 ,the order of the subjects begins in the centre and goes first north and then south from that point4 ,the color of the centre panel is ,yellow1 and the subject ,the ,creation of ,light4 ,the ,divine ,intelligence1 sitting enthroned in the midst of ,space1 and enveloped in mist and clouds1 utters the words1 8,let there be ,light40 ,the corner figures represent ,physics1 ,metaphysics1 ,psychology1 and ,theology4 ,the second color is ,orange1 and the subject ,the ,light of ,excellence1 suggested to the artist by ,longfellow's poem1 ,excelsior4 ,a spirit stands midway on a pyramid of steps 7signifying ,progress71 which is lost in the unknown distance4 ,she beckons to man to join her on the heights where she is standing1 and holds in one hand the wreath which crowns every effort for ,excellence4 ,in the corner1 the cherubs typify ,architecture and ,sculpture2 ,transportation2 the ,phonograph and ,telephone2 and ,invention and ,design4 ,the third panel is ,red1 representing ,the ,light of ,poetry4 ,poetry1 mounted upon ,pegasus1 holds a torch in one hand and with the other reaches toward that light of the ideal for which he must always strive1 but which he can never attain4 ,in the background half-seen figures represent the afterglow of ,tradition and ,mythology4 ,the corner groups stand for ,tragedy and ,comedy2 ,lyric ,poetry2 ,pastoral ,poetry2 and ,fable4 ,violet1 the fourth color1 is symbolized as ,the ,light of ,state4 ,the ,united ,states being regarded as the highest form of government yet achieved1 its emblems are selected as the best expression of the ideal ,state4 ,this being the case1 ,violet was the color under which1 according to the conception of the artist1 the ,united ,states might best be represented1 since violet results from the union of the ,american colors1 ,red1 ,white1 and ,blue4 ,the figure is that of ,columbia1 with a shield emblazoned with the ,united ,states flag1 and carrying a staff surmounted by a liberty-cap1 while the ,american eagle hovers above her shoulder4 ,the cherubs in the corners represent the ,suffrage1 ,justice1 ,liberty1 and ,equality4 ,the next subject is ,green1 or ,the ,light of ,research4 ,the central figure is the ,spirit of the ,lens1 which in the telescope and the microscope reveals to the scientist the secrets of the universe4 ,she is surrounded by the sea1 with its myriad forms of life furnishing her with the material for her investigations4 ,the cherubs in one corner have a microscope4 ,in another1 they represent ,chemistry2 in the third ,archology 7,egyptology deciphering the hieroglyphics72 and in the fourth1 ,mineralogy--all selected as being especially concerned with original investigation and research4 ,blue is ,the ,light of ,truth4 ,the ,spirit of ,truth crushes the dragon of ,ignorance and ,falsehood under foot1 and reaches to heaven for a ray of light with which to inflict the final wound4 ,the blue of the background is the blue of daylight1--light from darkness4 ,the cherubs hold the level1 the plumb1 and the ,bible1 each considered as an agent in indicating the presence of a universal law4 ,the last panel represents ,indigo as ,the ,light of ,science4 ,the figure represents ,astronomy1 who is guided by the soul 7figured as a butterfly fluttering above her head7 to explore the movement of the stars4 ,the cherubs represent various phases of astronomical study4 ,one of the figures1 for example1 explains the theory of mathematics1 showing on the fingers of the hand that one is the unit of everything2 a second looks through a telescope2 and others are studying books and making calculations4 ,,senate ,,reading ,,room4 ,at the end of the corridor leading to the ,house ,reading ,room1 is a little lobby1 from which one enters the ,southwest ,pavilion1 or ,senate ,reading ,room1 reserved for the use of members of the ,senate4 ,the little lobby itself is one of the most beautiful examples of pure architectural design to be found in the ,library4 ,the walls are of ,vermont marble--the same as in the corridor--panelled with ,sienna marble4 ,the moulded ceiling is finished entirely in gold1 with a central rosette1 surrounded by coffers and conventional ,greek mouldings1 one of which1 a rather elaborate fret1 is laid upon a ground of deep red4 ,the whole effect of the decoration1 taken in connection with the low light which prevails1 is remarkably fine--a combination of great richness with soberness and refinement4 ,the ,senate ,reading ,room is finished in much the same style as the ,house ,reading ,room1 but with less elaboration of ornament4 ,on the whole1 the effect1 though quieter1 is perhaps more restful and satisfying4 ,a toilet room1 leading from the lobby just spoken of1 cuts off a portion of the pavilion1 but allows space above for a low gallery enclosed by a delicately carved balustrade of ,sienna marble4 ,below1 the oak dado is ornamented with delicate inlaid arabesques of white mahogany4 ,above the dado the walls are covered with figured red silk4 ,in the southwest corner is a fireplace of ,sienna marble1 with a sculptured panel of the same material by ,mr4 ,herbert ,adams4 ,the design shows an eagle with arrows in his claws1 and an ,american shield supported by flying cherubs4 ,the doorhead tympanum is of oak1 like those in the ,house ,reading ,room1 and contains a carved panel1 also by ,mr4 ,adams1 with a heraldic shield bearing the monogram1 8,u4 ,s4 ,a410 and supported by mermaids4 ,the gold ceiling contains six square panels1 each containing four graceful female figures holding garlands in their hands--the work of ,mr4 ,william ,a4 ,mackay4 ,,the ,,north ,,corridor4 ,the corridor leading to the north from the ,main ,entrance ,hall is1 as has been said1 similar in design to that opening into the ,congressional ,reading ,rooms4 ,the design of the floor and ornament upon the arches is somewhat different1 however4 ,the tympanums which it contains are ornamented by a series of paintings1 by ,mr4 ,edward ,simmons1 representing the nine ,muses4 ,mr4 ,simmons's ,paintings4--,the ,muses1 according to the ,greek mythology1 were the goddesses of the various departments of ,art1 ,poetry1 and ,science4 ,apollo1 the ,god of ,song1 was their father1 and ,mnemosyne 7,memory7 their mother4 ,their names1 given in the order in which they occur in ,mr4 ,simmons's series1 beginning at the south end of the corridor1 were as follows3 ,melpomene1 ,clio1 ,thalia1 ,enterpe1 ,terpsichore1 ,erato1 ,polyhymnia1 ,urania1 and ,calliope4 ,melpomene was the ,muse of ,tragedy2 ,clio1 of ,history2 ,thalia1 of ,comedy and ,bucolic ,poetry2 ,enterpe1 of ,lyric ,song2 ,terpsichon1 of ,dancing2 ,erato1 of ,erotic ,poetry2 ,polyhymnia1 of ,sacred ,song2 ,urania1 of ,astronomy2 and ,calliope1 of ,epic ,poetry4 ,illustration3 ,,melpomene4--,,by ,,edward ,,simmons4 ,in ,mr4 ,simmons's panels1 each of the ,muses is shown as a seated figure4 ,on either side a laurel wreath is displayed1 as the general symbol of intellectual pursuits1 and the background is diversified by curving lines of smoke proceeding from the flame of a torch or a censer--thus signifying the inspiration of ,art and ,poetry4 ,in several of the tympanums the ,muse is accompanied by little geniuses who serve to bring out the special character of the central figure4 ,in the panel devoted to ,thalia the genius is a satyr1 with goat's legs1 and carrying a pair of ,pan's pipes4 ,the ,muse playfully catches him in a fold of her garment--the whole suggesting the rustic sportiveness of the early ,greek ,comedy4 ,certain of the panels1 also1 contain various distinguishing objects4 ,melpomene1 for example1 is accompanied by a tragic mask2 ,clio by a helmet1 for the warlike exploits recorded by ,history2 ,thalia1 by a comic mask2 ,urania by a celestial globe4 ,terpsichore is represented as if swaying to the music of the dance1 and is striking a pair of cymbals4 ,erato is nude1 and bears a rose--the flower of love--in her hand4 ,polyhymnia holds an open book in her lap4 ,one of the geniuses in the tympanum of ,calliope holds a scroll1 and the other some peacock's feathers--the latter symbolical1 perhaps1 of the dignity and beauty of the ,epic4 ,,special ,,rooms4 ,of the two rooms leading from this corridor--the ,northwest ,gallery and the ,northwest ,pavilion--the first is decorated in a cheerful spring-like green ornamented with garlands1 and the ,pavilion in a deep ,pompeiian red with medallions containing figures of dancing girls1 by ,mr4 ,r4 ,l4 ,dodge1 and conventional ornaments adapted from ,pompeiian designs4 ,in the six window bays1 also1 is the series of the signs of the zodiac1 designed by ,mr4 ,thompson4 ,the various galleries and pavilions on this floor1 excepting1 of course1 the ,congressional ,reading ,rooms1 are designed to accommodate the clerical and cataloguing work of the ,library and the ,copyright ,department1 or to furnish room for special collections of books4 ,there is every reason to hope that in time many valuable private libraries throughout the country will find their permanent home in some one of these apartments1 given or bequeathed by their owners to the ,nation1 and preserved for all time in convenient1 well lighted and fireproof rooms as a memorial to the liberality of their donors4 ,already one such collection has been received1 presented several years ago to the ,library by the late ,dr4 ,j4 ,m4 ,toner of ,washington4 ,it is kept by itself in the ,northeast ,pavilion4 ,the most remarkable feature is its ,washington letters1 gathered either in the original or in copies1 during a period of many years4 ,,the ,,basement4 ,the basement of the ,library1 which may be reached through the doors under the staircases in the ,main ,entrance ,hall1 is arranged in the same way as the first and second stories1 except that the whole floor is connected by a series of corridors which extend entirely round the building4 ,the walls of the ,west ,pavilion are sheathed in a dado of white ,italian marble about ten feet high1 above which is a vaulted ceiling ornamented with a bright1 open arabesque in green1 blue1 and yellow on a cream-colored ground4 ,the corridors have dados of ,american marbles1 usually dark in color1 as ,lake ,champlain or ,tennessee4 ,for the walls and vaults1 plain colors harmonizing with the marble and set off with simple arabesques and borders1 have been used4 ,the effect is well worth the attention of the visitor--the rich tones of the marble and the brighter coloring of the walls and vaults framing a long vista seen through a succession of low1 narrow arches4 ,illustration3 7decorative archway7 ,,the ,,architecture ,,sculpture ,,and ,,painting ,,by ,,charles ,,caffin ,it is interesting to note that the ground plan of the new ,library of ,congress was suggested by that of the ,british ,museum4 ,there1 however1 the central reading room was placed inside the quadrangle as an afterthought4 ,building on this1 as well as on the architectural experience of other libraries1 our own ,library has had the advantage of organic growth4 ,every part is related to the whole1 and practical and sthetic requirements are logically and naturally fulfilled4 ,these requirements were3 an imposing edifice1 with plenty of well-lighted rooms2 facilities for the storing of books2 and ample space for the reading and general public4 ,with one exception the exterior of the building indicates the character and relative importance of the interior divisions4 ,that exception is the book-stacks1 radiating from the sides of the ,rotunda or central reading room4 ,but their position is in completely natural relation to the rest1 and by being hidden from the outside1 they could be made just what they pretend to be1 viz4 huge book-shelves of iron1 bricks1 and marble1 well lighted and ventilated4 ,their construction is sthetically perfect1 and yet without injury to the faades4 ,the latter1 albeit severe and lacking the indefinable artistic spirit of the ,capitol1 are grand and imposing4 ,the ground floor1 resting on a continuous plinth1 is constructed of huge blocks1 quarry or rock-faced1 with bold joints and square lights4 ,the masonry of the first story is fine pointed with vermicular or coral-like quoins at the angles of the pavilions4 ,in the second story1 the bel tage1 the face of the granite is smooth2 the windows are framed with pilasters and surmounted with pediments2 the pavilions are emphasized by porticoes resting on ,corinthian columns4 ,the horizontal mouldings are boldly accentuated and carefully graduated1 terminating in a modillioned cornice surmounted by a balustrade4 ,the shadow effects are strong and tender1 and the set-back of each floor well marked4 ,while the exterior of the building represents a single thought and one engrossing individuality1 the interior reveals a complexity of thought and a variety of distinct personal influences1 due to the parts played by the sculptors and painters4 ,yet there is no lack of homogeneousness4 ,the architect has balanced the individual notes by the breadth and force with which he has treated the purely decorative parts of his scheme4 ,his effects are massed4 ,sumptuous expanses of mosaic1 or painted surfaces1 or stuccoed vaults1 compel our attention and divide our interest with the special objects of beauty4 ,the spectator's mind is not bewildered by a jumble of elaboration1 but passes quietly from one impression to another4 ,on entering the ,entrance ,hall1 for instance1 marble is beneath our feet and on all sides of us4 ,the impression is instantaneous1 irresistible1 and entirely undistracted4 ,in the adjoining halls1 the prevailing theme is varied by the colors of the marble mosaic vaults1 which assert their own beauty at the same time that they modestly bring the painted compositions of the tympanums into color-relation with the grey-white marble walls4 ,upstairs1 in the corridors beyond the arcades1 the marble impression is prolonged in the mosaic floors1 delicate in their play of color1 and splendid in their very spaciousness4 ,but the main impression is still that of painted ornament4 ,in the adjacent galleries marble is continued in the floors1 but the chief architectural interest here is in the stucco work4 ,it is true we are attracted by the painted lunette at the end1 but simultaneously we feel how superbly framed it is by the vista of vaulted ceiling4 ,the importance of the four pavilions is emphasized by painted compositions1 but here again an equipoise of interest is maintained by the mosaic floors1 and the beautiful lines of the stucco1 which weave the octagon of walls into the circle of the vault4 ,beneath the great central dome of the ,rotunda all these forces are massed with excellent judgment4 ,the dome itself rests upon massive columns of ,numidian marble connected by two tiers of arcades of ,sienna marble2 mounts up in successive gradations of stucco1 from bold accentuation to tender elaboration1 till it melts into the calm of ,mr4 ,blashfield's painting and ends in the dreamy spirituality of his figure in the cupola4 ,in the little corridors to the north and south of the ,entrance ,hall the architect has epitomized his methods4 ,they are miniature ditions de luxe1 in which arch and vault1 marble1 stucco1 mosaic1 and pictures are blended with the daintiness of an ,elzevir4 ,,the ,,sculpture4 ,including under ,sculpture the plastic1 carved1 and bronze work1 it will be convenient to consider the sculpture of the ,rotunda by itself and apart from that of the rest of the building1 for it consists mainly of statues linked together by a common thread of thought1 while elsewhere the motive is solely decorative4 ,one of the prominent features of the ,entrance ,hall is the balustrade of the staircase1 executed by ,mr4 ,martiny4 ,the coil of babies and garlands is irresistibly fascinating4 ,bold in line and generous in massing of light and shade1 as befits the grandeur of the construction1 the design has1 besides1 much daintiness of detail4 ,joined to an exquisite fancy1 playful without grotesqueness1 are a fluency and certainty of technique in the best sense ,french4 ,in somewhat the same vein is ,mr4 ,adams's tympanum over the ,senate ,reading ,room door4 ,the main masses have an exuberance1 boldly contrasting with the delicate details that overspread the entire panel4 ,the modelling and lines are so excellently adjusted that the animation of the laughing faces seems to circulate to the very tips of the tails4 ,in ,mr4 ,perry's ,sibyls the balance between the filled and empty spaces and the simple force of the beautiful lines and masses are admirable4 ,the thought embodied is equally admirable4 ,the sculptor has chosen the four races to which we immediately owe our modern civilization1 and pictured each ,sibyl as the personification of the special quality or genius of that race3 ,religion1 ,beauty1 ,order1 ,progress4 ,conspicuous in the four pavilions are ,mr4 ,pratt's ,seasons4 ,the composition of each is simple and united1 while the circle is well filled with an embroidery of light and shade4 ,in ,winter1 for example1 the design converges towards the patiently folded hands2 in ,autumn it revolves around the infant2 we note the circling solicitude of the mother1 centering on the baby at her breast4 ,in the ,rotunda1 the statues embody the basic elements of civilization1 and some of its noblest exponents2 a theme beautifully appropriate to the soaring edifice4 ,primarily1 however1 the statues have an architectural purpose2 the larger ones to prolong the lines of the columns and emphasize the spring of the arches1 the smaller to break the level of the balustrade with a series of upward accents4 ,the sculptors have not been as one in interpreting this obligation1 for their work varies from monumental simplicity to extreme characterization4 ,mr4 ,pratt's ,philosophy is grandly simple and reposeful4 ,a little intricacy of drapery upon the bosom serves to isolate the bowed head and give more severity to the unbroken folds below4 ,by a calm immobility1 also1 ,mr4 ,bissell1 ,mr4 ,boyle1 and ,mr4 ,dallin have secured impressiveness in their statues of ,kent1 of ,bacon1 and of ,newton4 ,much the same1 too1 may be said of ,mr4 ,st4 ,gaudens's ,art4 ,in ,mr4 ,donoghue's ,science the repose is re-inforced with movement4 ,the strong masses of drapery on one side contrast with the supple line along the right of the figure1 and with the placidly extended hands4 ,the hands conform to the spread of the arches1 while the whole figure prolongs the columns4 ,symbolically1 it suggests the combined restlessness and contemplation of ,science4 ,in this brief analysis we must include in one group ,mr4 ,niehaus's ,moses and ,gibbon1 ,mr4 ,french's ,herodotus1 and ,mr4 ,potter's ,fulton4 ,all of them are rich in characterization1 extremely picturesque1 and yet sober and controlled in contour4 ,we shall find examples of exquisite technique in modelling in ,mr4 ,french's ,history1 ,mr4 ,st4 ,gaudens's ,homer1 and ,mr4 ,macmonnies's ,shakespeare4 ,in ,mr4 ,ruckstuhl's ,solon and ,mr4 ,bauer's ,religion and ,beethoven characterization seems the foremost thought4 ,mr4 ,macmonnies's door is very noble1 with increased richness and emphasis in the lunette4 ,in thus giving a sense of greater elevation and dignity by lifting the eye upwards1 it is interesting to note how he has adopted a form of composition similar to that introduced by ,mr4 ,vedder for the same purpose over the entrance to the ,rotunda4 ,the main composition is a square1 modelled in such bold relief that the attention is immediately arrested and directed upwards4 ,yet there is no sense of emptiness in the accessory portions of the lunette1 which are richly encrusted with ornament4 ,to assist this elevation the figures in the panels are in low relief1 broadly and simply treated4 ,but the comparatively emphatic folds of the drapery on each side strengthen the figures1 while the torches seem as a bold frame to the design1 with pronounced accent at the four corners4 ,somewhat similar must have been the motive of ,mr4 ,warner4 ,he has made the interest of his doors ascend1 but on reaching the top has spread it throughout the lunette4 ,in the latter the balance of raised and hollow parts1 and the mingled repetition and contrast in the direction of his lines are admirable4 ,,the ,,painting4 ,the general painted decoration1 as carried out for the architect by ,mr4 ,garnsey1 is always loyal to the architecture1 and yet asserts the essential and peculiar value of color4 ,first and foremost the constructional value of color is fully realized4 ,in the central ,reading ,room1 for instance1 not only have the white walls and stucco been brought into color harmony with the rich red and yellow of the ,numidian and ,sienna marbles1 but the tints have been so distributed and their strength graduated in relation to the spaces they cover1 that a strictly structural fabric of color has been constructed in and around the architectural edifice4 ,the grand suite of rooms running round the entire second story is a charming example of color sequence4 ,the keynote is yellow1 the most joyous of all colors--the hue of sunshine4 ,the note is struck positively in the four pavilions1 where the yellow has been carried as far as possible in the two directions of red or blue4 ,these positive colors are connected by the tertiary tints in the intervening rooms1 where the walls are dull yellow or olive1 relieved by red and green in the frieze4 ,in the room on the north side the painter has suffused the olive-green with a neutralized bloom of the complementary violet1 thus securing a harmony of opposition as well as of similarity4 ,in the central room on the east side1 the scheme for a brief space swings to blue1 with yellow in the frieze1 and the more important rooms on the west side echo some of the brilliancy of the adjacent stair-hall4 ,to name but one other phase of this work in which the decorator has worked so well for the architect1 the emotional value of color or its quality of expression is exhibited in numerous instances4 ,above the high oak wainscot of the ,librarian's ,room1 the panels are a deep blue1 enamelled with subdued arabesques4 ,age seems to have dimmed them4 ,there is a patina of green rust upon the ivory ceiling1 the tender touch of time upon the owls and lamps1 that hints at the antiquity of thought4 ,compare with this the robustness of the design of the ceiling in the ,pavilion of the ,seals4 ,the first impression is of a turbulence of gorgeous clouds veiled in a golden haze4 ,gradually the details of form and color grow1 and we discover an elaborate harmony in which the great ,seal of the ,united ,states and the ,american flag1 are predominating features4 ,of the special paintings which complete and accentuate this great general scheme of architecture1 ,mr4 ,blashfield's occupy the most important position4#ac ,the problem was a conflicting one4 ,the space demanded a noble theme and stately treatment1 conforming to the monumental majesty of the structure1 and yet responding to the tenderness and airiness of the cobweb of arabesque4 ,it was necessary to continue and also to conclude the converging ribs2 to solidify and also to disperse them2 to create a design subordinate to the architecture and yet completing it and dominating it4 ,his treatment is geometrical4 ,four figures crown the axial spaces1 conspicuously white1 full fronted1 self-contained1 emphasizing the spaciousness and symmetry of the structure1 and symbolizing the four basic constituents of civilization4 ,each of these is supported by a figure to the right and left1 which are so subtly posed that they prolong the converging lines of the ribs of the dome4 ,while the eye is thus continually carried up1 it is diverted horizontally by the interlacing lines of the limbs1 the necklace of recurring banderoles and cartouches1 and finally by the majestic sweep of wings1 the sculpturesque simplicity of which merges the painting into the architecture above4 ,to this wreath of form the artist has imparted a suffused bloom1 tenderly iridescent2 giving quiet distinction to each figure and a satisfying harmony to the whole composition4 ,his intellectuality reveals itself1 not only in the technical solution of his problem1 but also in the depth and comprehensiveness with which he has interpreted his theme4 ,it matters not which figures one selects2 all are beautiful and richly suggestive4 ,compare the representation of ,religion and of ,philosophy2 the yearning of the one for outside strength and light with the calm1 passionless scrutiny of the other2 or the dreamy transcendentalism of ,islam1 and his rounded limbs1 with the square strenuous determination of the young giant1 ,america4 ,this composition1 however1 is not a circle1 the recognized geometrical symbol of eternal completeness1 but a concave ring whose lines converge toward a centre outside of and above itself4 ,that centre is the figure in the ,lantern1 representing that ,higher ,wisdom to which the wisest are always striving to attain4 ,this concave ring represents ,civilization1 which1 kept in perfect balance by the harmony of the various elements of human life1 spins easily and surely upon its axis4 ,this is the greatest good of all2 but it is impossible to maintain ,civilization without ,progress2 it must forever speed upward to the ,higher ,wisdom4 ,mr4 ,pearce's panels in the north corridor are notable examples of decorative color4 ,the positive tints are clear and fresh against soft backgrounds of secondary greens and violets4 ,the composition1 except in the panel of ,the ,standard-,bearers1 leans to the pictorial rather than to the decorative method4 ,perhaps ,labor and ,religion combine the two methods most happily4 ,in the former the lines of the limbs repeat and relieve each other most agreeably4 ,there is enough sameness of movement to emphasize the sharing of toil1 sufficient difference to suggest individual effort4 ,there is a suggestive contrast in ,religion between the man's awe and the woman's placid confidence4 ,he recognizes the mystery1 she the comfort of fire4 ,a germ of the love of the beautiful is shown in the choice for an altar of the curious stone which they have propped up so unstably1 and yet with so much affectionate care4 ,in the east corridor1 ,mr4 ,alexander's six panels are to be taken as so many fragments cut from the picture of the ages4 ,they are terse and vigorous2 they compel our interest4 ,the figures are dramatic1 in the true sense that they are doing something simple and natural1 while their local surroundings1 like the old chorus1 interpret the significance--in some cases1 from the standpoint of to-day1 the insignificance--of the act4 ,for1 by the exercise of keen imagination1 and through the resources of his technique1 the artist has rendered with pathetic vividness the dumbness and isolation of early man and the unresponsiveness of his surroundings4 ,with the skill of an expert dramatist1 he has developed the growing permanence of the record1 and the widening of the circle of influence1 and led up to the climax when the written speech of one becomes the property of all4 ,in ,mr4 ,walker's panels1 ,nature and not ,humanity is the inspiration4 ,in his largest panel1 she is exhibited in the unrestraint of stream and rock and verdure4 ,yet she is represented in ,mr4 ,walker's paintings not so much for her own sake as for the inspiration which she lends to the mind of the poet4 ,it is ,nature viewed through the medium of the imagination--,nature refined by the alchemy of human emotion4 ,in the opposite panel1 man's relation to ,nature is introduced2 in a suggestion of the old idyllic1 pastoral life1 with a hint1 too1 on one side of the panel1 of man's creative genius1 the stately edifice into which1 working upon ,nature's plan1 he has built his own personality4 ,the scheme is completed by the smaller panels in which the artist has suggested the various moods of lyric poetry1 as illustrated by the special genius of ,shakespeare1 ,milton1 ,tennyson1 ,emerson1 ,keats1 and ,wordsworth4 ,mr4 ,vedder1 in his ,government series1 has played upon a simple scale of low-toned reds1 blues1 greens1 and yellows1 thus responding in his work to the mosaic and marble which surround it4 ,each composition has a separate geometrical motive1 built up by the distribution of the colors1 the balance or contrast of light and dark1 the flow of the lines1 and1 not least1 by the arrangement of the spaces4 ,the central panel succeeds completely in its twofold purpose of giving dignity and height to the entrance1 and of expressing the solidity and elevation of ,government4 ,the use of line is throughout remarkable4 ,in the panels of ,good ,administration and ,peace and ,prosperity the lines of direction are downward from the zenith4 ,in the former1 these lines fall in tenderly embracing curves2 in the latter they widen out and form that strongest of all structures1 a broad-based pyramid4 ,in ,corrupt ,legislation1 the eye is first arrested by the tilted leg and slovenly slipper1 and follows down to the money-bag4 ,we know it all3 the shamelessness1 shiftlessness1 and corruption4 ,it is a compression of multiplied experience into one illuminating flash4 ,the direction of the picture is diagonal1 and the masses of form and color purposely accentuate its lop-sidedness4 ,yet the picture seems evenly balanced1 for the simplicity and distinctness of the standing figure attracts one's eye from the intentional confusion of the opposite side4 ,in the spaces one will notice the harsh gashes made by the chimneys1 and the unpleasant parallelism of the smoke wreaths1 so suggestive of the dead monotony of sordid lives4 ,the triumph of ordered disorder is reached in the panel of ,anarchy1 which is based on a reversal of geometric methods4 ,the masses of dark and light tumble diagonally across the picture towards the desolate space with the broken wheel4 ,the spaces at the top are shattered and splintered as if by an explosion4 ,but most remarkable is the jagged space near the centre4 ,it is as if a shot had ploughed its way through the chaos and allowed a glimpse of the void beyond4 ,mr4 ,vedder's ,minerva recognizes at once the strong points and the limitations of mosaic4 ,the design itself is a mosaic in which the full and empty spaces1 and the light and darker portions1 and the embroidery of lines1 together form a rich brocade4 ,sumptuousness is added by contrasting the smooth outlines of the one side with the intricate elaboration of the other4 ,it is very interesting to note how the spear ties together the lighter portions1 and prevents the strong figure from being too sharply silhouetted4 ,around the statuesque simplicity of ,mr4 ,shirlaw's ,sciences flows a sinuous play of lines1 and their broad masses of color reflect the surrounding tints1 so that these panels are more than punctuations2 they are at once the focus-points and distributing centres of the whole corridor4 ,there is a geometrical plan apparent in the building-up of the figures4 ,often the main lines intersect diagonally1 and one is tranquil1 the other energetic2 there are centres of repose and of movement to which these lines converge2 and these are also the points of main interest in the symbolism of the picture4 ,in ,mathematics1 for instance1 the line of the nude position1 suggesting the naked accuracy of figures1 leads up to the calm1 frank face2 while the more intricate line of the drapery winds across diagonally1 and merges in the convolutions of the scroll1 with its hint of abstruse calculations4 ,the arrangement of the draperies1 indeed1 is invariably worthy of close attention4 ,compare the stem-like lines and petal-shaped folds which cling to the form of ,botany1 with the successive eddies that circle round ,astronomy4 ,in ,mr4 ,reid's panels the sensitive vibration of color and the luxurious lines eloquently express the delight of the ,senses4 ,but there is no note of decadence4 ,there is so much decision in the drawing1 free expansion in the masses of form and color1 and such energy in the flashing color of the drapery1 that we feel in these beautiful women1 not the enervation of pampered senses1 but merely a moment's pleased suspension of activity4 ,this is least noticeable in the elegant deliberation of ,taste2 it is finished to a delicate point in the exquisite conception of ,touch4 ,this is a picture of an instant of arrested energy1 shown in the forward lean of the body1 and the momentary stillness of the outstretched arm on which the butterfly has alighted4 ,in a moment the insect will be gone1 the limbs will relax and vibrate again with active life4 ,throughout1 it is enjoyment of the senses1 not abandonment to them1 that the artist has depicted4 ,what may be called the debonair quality of ,mr4 ,barse's figures is very noticeable4 ,it is due not only to the purity of type1 and to the tenderness and simplicity of the coloring1 laid on so flatly in two or at most three tones2 but mainly to the sensitive elaboration of line4 ,the figures are of ample proportion1 and the draperies voluminous1 but the artist's appreciation of the value of line in mural decoration does not stop with the broad effects4 ,he weaves into his draperies a diaper of delicate folds1 each of which counts4 ,in this way1 by contrasting the smooth portions with the comparative intricacy of others1 he gives to his figures1 notwithstanding their simplicity1 a certain richness1 a quiet assertiveness1 and a most agreeable refinement4 ,the striking contrast of dark and light in ,mr4 ,benson's panels gives them decorative distinction2 a nearer view reveals the emotional tenderness of detail4 ,the white figures1 graciously delicate in drawing and color1 are silhouetted against a dark background1 brocaded with a bold design1 and lustrous with interpenetrating tints4 ,the originality of conception in the four ,seasons is interesting4 ,they are the four seasons of human feeling3 the ,springtime of anticipation2 the ,summer of possession2 the ,autumn1 not of harvest1 but of waning joyousness2 the ,winter of accepted loss4 ,yet hope and youth remain1 and the beauty deepened by experience in the last face is an earnest of still another spring and summer1 which shall be fuller1 richer1 and more precious4 ,mr4 ,cox's paintings in the ,southwest ,gallery exhibit a strong sense of responsibility to the aims and limits of mural decoration4 ,the method he has adopted is to carry the surrounding architecture up into his pictures and melt it into a canopy of sky4 ,before this he has suspended1 in the case of ,science1 a delicate arabesque1 as it were1 of line and color accentuated by three important masses4 ,everything that could interfere with the flatness of his decoration has been rigidly eliminated4 ,it is to the wall and not beyond it that he would direct our attention4 ,the architectural features are only faintly depicted1 and the foliage breaks up the background without introducing another plane4 ,but it is in the figures that the artist's mastery over his restrictions is most complete4 ,with practically no recourse to light and shade1 but relying solely on drawing and the handling of a few tones1 he has given form and substance to his figures4 ,the work throughout reveals clearness of purpose and certainty of accomplishment4 ,the decorations by ,mr4 ,maynard1 in the ,pavilion of the ,discoverers1 strike a distinctly independent note4 ,the starting-point of the scheme is the honor-roll of illustrious men toward whom the central composition stands as a sort of coat-of-arms1 symbolically expressing the principle which links the names into a common family4 ,the treatment1 in fact1 is heraldic1 and subtly suggests the medival chivalry out of which the various movements grew4 ,this formal character is assisted by the symmetrical distribution of the colors4 ,virility of mind and method characterizes every detail of the compositions4 ,compare1 for instance1 the panels of ,discovery and ,adventure4 ,energy1 assertion1 and full-blooded life characterize all the figures4 ,the aims and animating impulse which especially distinguish the ,discoverer are expressed in the eager1 generous movement of one of the flanking figures1 and in the strong calm and steadfastness of the other1 shown1 for example1 in the self-restraint of the sword-arm4 ,in ,adventure1 on the other hand1 the roystering abandon of the figures1 the easy carriage of the sword1 epitomize the ,adventurer's sordid purpose and unscrupulous methods4 ,mr4 ,maynard's figures in the ,staircase ,hall 7the ,virtues7 are dignified and elegant4 ,though they are so many vivid interludes to the repose of the architecture1 and are instinct with buoyant vitality1 yet1 by their coloring1 sensitive refinement1 and noble proportions1 they echo the surrounding marble4 ,mr4 ,r4 ,l4 ,dodge has adopted a similar composition to ,mr4 ,maynard's in the ,southeast ,pavilion1 in his designs symbolizing the four natural elements4 ,the color schemes are in a light key4 ,the backgrounds1 to which the panels are most indebted for their decorative value1 have a considerable poetic quality4 ,their intention is clear1 and its expression agreeably fanciful4 ,the names in the tablet below have an interesting significance1 recording the ,greek personification of the characteristics of the elements4 ,the majesty of ocean1 for instance1 was embodied in ,poseidon2 ,proteus personified its quality of assuming any shape2 ,galatea1 its surpassing beauty4 ,in the next pavilion--the ,pavilion of the ,seals--,mr4 ,van ,ingen has attacked his problem from the standpoint of color4 ,the treatment of the subject is formal1 for which1 however1 the artist has abundant warrant in tradition4 ,the soul is infused into it by color4 ,in the density and richness of the tones1 the sumptuous texture of the surfaces1 he has embodied the abstract idea of the solidity1 grandeur1 and delicate complexity of well-ordered government4 ,the color schemes vary4 ,in ,post-,office and ,justice1 there is a diffusion of motive4 ,rose and violet penetrate the panel1 playing with each other and affecting the other colors with subtle variations4 ,in ,treasury1 however1 the blue-green impression1 which swims over the whole1 is brought into a depth of tone in the woman's dress2 while in ,war there is a crispness of color throughout in quick accord with the alertness of the figure and the flash of her robes4 ,these panels are essentially a painter's vision1 expressed through a painter's special medium4 ,mr4 ,w4 ,l4 ,dodge1 in the ,pavilion of ,art and ,science1 has grappled with his problem in a big way2 exhibiting an eager acceptance of difficulty1 and a resolute choice of intricate interest4 ,for instance1 he has arranged the light to fall upon his figures at short range1 so that1 instead of a simple scheme of light and shade1 there is a multiplicity of unexpected effects4 ,this purpose has expanded under the influence of the various subjects4 ,the panels of ,art and ,music are crowded with sensations4 ,we feel that here the painter is consciously and unconsciously reproducing the sensations of his ,art life4 ,in ,literature1 however1 he has emerged into a more impersonal atmosphere4 ,in ,science the reproduction of sensations even more clearly yields to the creation of thought4 ,lastly1 the ceiling is the climax of this growing artistic and intellectual effort4 ,here the problem is at its biggest1 and the technical solution most successful4 ,it is not by this or that accident of professional attainment that ,mr4 ,dodge wins us here4 ,it is because we feel that here the technique finally becomes the handmaid of real creative faculty4 ,in ,mr4 ,melchers's ,war and ,peace1 it is not beauty1 in the popular acceptation of the term1 that attracts us4 ,our interest is seized by their masterful character1 held by their strong technique1 and confirmed by their deep human significance4 ,the brush-work is simple and sure1 applied with breadth and in few tones1 imitating the manner of frescoes in the old manner1 painted rapidly while the plaster was still damp4 ,everything counts1 and the artist's thought is brought close to us4 ,the composition varies with the subjects4 ,in ,peace1 ,mr4 ,melchers has relied on smooth masses balanced athwart a pleasing leafy background4 ,movement is suspended4 ,war1 however1 shows the vigorous construction of moving forms3 solid masses and a tangle of gnarled limbs displayed naked against a harsh landscape4 ,we have muscular and mental tension4 ,we see only the horror and hideousness of war1 and none of its pomp and circumstance4 ,laurel1 indeed1 crowns the leader's head1 but his son is stretched a corpse upon the rude bier4 ,one man blows a trumpet1 but none of the dogged faces kindles4 ,only the hounds show eagerness1 and they are straining at the leash to get home4 ,the religious procession is in its way just as strong4 ,it is entirely unsentimental4 ,these simple folk are entering naturally into what is merely a part of their life and thought4 ,a great deal of the charm of ,mr4 ,mc,ewen's panels is due to the landscapes1 which are instinct with poetical imagination4 ,the artist has given them an atmosphere which sets them back in the past1 when the world was in its youth and full of promise rather than fulfilment4 ,in the episodes selected1 it is not the heyday of heroic achievement that he has commemorated1 but the first impulses1 such as those of ,jason and ,paris1 or the reverses and inadequate results of human effort as illustrated in the other heroes4 ,stripped of its glamor1 this is perhaps the true story of heroism in all ages4 ,mr4 ,gutherz in his seven panels on the ceiling of the ,house ,reading ,room1 has symbolized ,light in its physical and metaphysical aspects4 ,the starting-point of the scheme is the central panel--8,let there be light0--and the others follow in prismatic sequence4 ,he has not painted the clearness of light1 but its subtle play upon various surfaces4 ,for example1 from the central figure1 8whose face no man hath seen and lived10 radiates a pale saffron glow1 struggling through the formless void of primeval chaos1 and piercing it with stars and splinters of light4 ,in the next panel of ,progress light is burnishing the dry atmosphere of an eastern sky2 while in that of ,research it acts and re-acts upon the particles of deep water1 and spends itself in a soft suffused luminousness4 ,mr4 ,dielman has adopted in his ,history an almost sculptural design2 in ,law rather a pictorial4 ,in the latter the group on the spectator's right is an especially attractive portion of the composition4 ,in the case of the centre figure1 it is well worthy of notice how the flexible lines on one side woo the figures1 while on the other the drapery as well as the figure of ,fraud slinks away from the hard line of the sword and the strong angle of the arm4 ,mr4 ,simmons's ,muses exhibit a certain restless power1 tempered by the sensibility of drawing and color4 ,the first impression is of a vivid blue or red spot4 ,the note is at once daring and original and in time irresistibly persuasive4 ,for these panels are daring1 not only in color but in the treatment of the subject4 ,the painter has infused into the old ,greek conception some of the intricacy of modern thought1 without1 however1 losing the classic character4 ,observe1 for instance1 his representation of ,tragedy4 ,greek tragedy was concerned with facts1 the sin and the vengeance1 not with psychological considerations4 ,the actor's mask covered even his face4 ,but in the panel before us is a suggestion of the whole perplexing problem of human sin and suffering4 ,or note the conception of ,calliope1 with the hands uplifted like ,aaron's1 partly in supplication1 partly in encouragement1 and with the shadow across those pitying eyes2 it would be unintelligible but for the ,inferno or ,paradise ,lost4 ,in the thought and execution we feel a certain quality of what one may be allowed to call1 perhaps1 diablerie4 ,sometimes it becomes palpable to sight1 as in the pale yellow flame in the panel of ,polyhymnia4 ,it is something more than technique--it is a spark struck out of the artist's personal consciousness4 ,a few words in conclusion upon the significance of this ,library4 ,the union of sculpture and painting with architecture has always marked the brilliant period of a country1 not only in arts and sciences1 but in material and social advancement4 ,the movement in this country1 begun by ,richardson and ,john la ,farge1 in ,trinity ,church1 ,boston1 has been steadily fostered by our leading architects1 gained an immense impulse at the ,world's ,fair1 was endorsed by the ,trustees of the ,boston ,public ,library1 and may now in the ,library of ,congress be said to have received the sanction of ,government4 ,it is a pre-eminently democratic movement1 for art so directed becomes an idealized embodiment of the national life1 and is brought within the reach of millions4 ,and the benefit will react upon ,art itself1 since her domain is thereby widened1 her opportunities increased1 and an incentive supplied to higher and nobler work4 ,studied in connection with the great buildings of ,europe1 this ,library1 representing the various aims and methods of so many men1 working from different points of view towards the same purpose1 will afford an opportunity for analysis and comparison that should yield rich fruit4 ,one may even venture to predict that1 properly used1 it will lead to that artistic ideal1 the formation of a distinctively ,american ,school of ,mural ,painting4 ,a school1 founded upon the methods of the past2 but differing in its animating impulse2 no longer catering1 as in the ,italian ,renaissance1 to the cultivated caprice of a few powerful patrons1 or reflecting an age when faith and civic virtues had waned1 but broadening out to express the aspirations of a self-governing ,people1 who profess belief in ,religion1 ,country1 ,home1 ,themselves1 and ,humanity at large4 ,illustration3 7decorative archway7 ,,the ,,function ,,of ,a ,,national ,,library4 ,,by ,,ainsworth ,r4 ,,spofford4 ,the uses of a great national collection of books are so manifold and far-reaching that it is difficult to sum them up in any succinct statement4 ,the ,library at ,washington1 steadily growing for generations1 was founded primarily for the use and reference of ,congress4 ,as the library of our national legislature1 whose responsible labors cover the wide field of domestic welfare and foreign relations2 it should contain all that can contribute to their service and information4 ,this being its primary function1 and a great and comprehensive library having been thus gathered1 a far wider field of usefulness is found in opening its treasures freely to the public4 ,gathered as it has been by appropriations of public money1 supplemented for more than a quarter of a century by the steady acquisitions coming in under copyright law1 it has become to a degree the representative of ,american science1 and the conservatory of the ,nation's literature4 ,as the only ,government library of comprehensive range1 every year of its existence should be marked by incessant progress toward completeness in every department4 ,in the new and splendid home for the ,nation's books provided by the far-sighted liberality of ,congress1 readers whose pursuits are endlessly varied should be assured of finding the best literature of all lands4 ,it is a fact pregnant with meaning that the nations which possess the most extensive libraries maintain the foremost rank in civilization4 ,the universality of its range and of its usefulness should not lead any to overlook the fact that it is1 first of all1 the ,library of ,congress4 ,here1 at the political capital of the country1 the ,senators and ,representatives who are responsible for the legislation of seventy millions of people are assembled4 ,in dealing with the wide range of interests involved1 there is almost no knowledge which may not at some time be wanted1 or which can come amiss4 ,here are settled or modified the principles of the internal economy and foreign policy of the ,nation4 ,here resort the innumerable promoters of local1 or individual1 or corporate1 or ,state1 or ,territorial1 or ,national1 or foreign interests1 all of whose propositions are to be examined1 weighed1 and brought to the test of reason1 precedent1 justice1 and facts of record4 ,here are apportioned those expenditures of public money which carry on the ,government and tend to the development of the country4 ,here questions of internal revenue and tariff taxation1 public land policy1 the pension system1 patents1 copyrights1 postal service1 agriculture1 education1 ,indian policy1 internal commerce1 immigration and naturalization1 the fisheries1 merchant shipping1 the army1 the navy1 the coast survey1 the civil service1 the public debt1 the whole financial system1 and the people's measure of value1 are discussed and settled4 ,in the vast and complicated system involved in a government so complex as the ,american1 where ,state rights and ,federal supremacy are constantly brought in question1 ,congress and its ,committees are taxed with responsibilities which demand the widest political1 historical1 and judicial knowledge4 ,only a library of completely encyclopdic range1 filled with books and periodicals which illustrate every subject1 and throw light upon the history and policy of every nation1 is adequate to equip them for their work4 ,in like manner1 the ,supreme ,court and the other courts of the ,united ,states1 established at the ,seat of ,government1 the ,interstate ,commerce ,commission1 and the tribunals frequently created to consider and report upon questions of national or international importance1 require and receive the constant aid of the rich assemblage of authorities here gathered4 ,it was found that more than two-thirds of the books relating to ,venezuela and its border-countries of ,south ,america1 needed for reference by the ,venezuelan ,commission1 were in the ,library of ,congress4 ,not less important and valuable is the service rendered by this ,library to all the ,departments and ,bureaus of the ,government4 ,questions frequently arise requiring investigations so broad and extensive as to overtax the stores of even the largest library to supply all the information sought for4 ,to a ,national ,library which is1 in some degree1 the intellectual centre of a great capital1 resort numberless seekers after books and information4 ,here is found the busy journalist1 turning over files of forgotten1 but carefully preserved newspapers1 to ascertain or to verify facts1 dates1 or opinions4 ,here the ,senator or ,representative seeks and finds precedents and illustrations1 authorities and legal decisions1 parliamentary history and the experience of nations1 to embody in his reports1 or apt citations and poetic gems to adorn his speeches4 ,hither come the students of history1 ,american and foreign1 assured of finding the chronicles that illustrate every period1 early or recent1 in whatever language4 ,here are found devotees of art1 studying the manuals or the histories of painting and sculpture1 or the engraved galleries of ,europe1 for examples of the beautiful4 ,hither come the architect1 the mechanic and the engineer1 in search of designs1 of models1 or of patents1 or of some book which contains the last word in electrical science4 ,here1 too1 come professional men of every class1 lawyers after leading cases1 clergymen investigating commentaries or religious homilies1 physicians reading medical or surgical or hygienic treatises1 teachers and professors striving to add to their learning4 ,the readers in the wide and attractive fields of literature are still more numerous than those who pursue the graver walks of science4 ,here1 the vast number and variety of works of fiction have their full quota of absorbed readers4 ,the enthusiasts of poetry and drama follow close upon1 and the student of biography finds no end of memoirs that are equally full of entertainment and instruction4 ,essays and criticism enlist the attention of many1 while many more find their delight in the perusal of voyages and travels4 ,here the eager student of metaphysics or moral science feeds his intellect upon the great masters of human thought1 and the man ambitious of great reforms busies himself over the books on social science4 ,here comes the student of natural science in quest of botany1 zology1 or the other kingdoms of nature1 and the politician searches after the arguments and the history of parties4 ,here the zealous grubber after facts of genealogy burrows among endless tables of family births1 deaths1 and marriages1 and the ever present investigator of heraldry traces the blazonry of crests and coats-of-arms4 ,here frequent the feminine searchers after costumes1 fanciful or historical1 and here the lovers of music resort to feed their sense of harmony upon the scores of the great composers4 ,the student of oratory revels in the masterpieces of ancient or modern eloquence1 and the lover of classic lore luxuriates in the pages of ,greek or ,roman poets1 philosophers1 or historians4 ,the law of nations 7that undiscoverable science7 engages the baffled researches of some1 while many others pursue1 through a world of controversial writings1 the knotty problems of finance4 ,some readers visit the ,library for prolonged and serious and fruitful investigation--others for only momentary purpose to verify a quotation1 or to settle a wager about the origin1 the meaning1 or the orthography of a word4 ,many books have been written1 and many more have been edited or corrected1 by the aid of the copious stores of every great library4 ,to respond adequately to all these and countless more demands upon its intellectual resources1 a ,national ,library must clearly be one of universal range4 ,this comprehensive aim for the ,national ,library will appear still more important when it is considered that it is1 in effect1 the only really representative library of the nation4 ,not that other collections 7and many of them1 let us hope7 are not equally far-reaching in their scope and their aim at completeness2 but the ,government ,library being the only one endowed with the full copyright production of the country1 its law of growth is necessarily in advance of that of other collections1 however well endowed--provided only that adequate care be taken by ,congress for its proper increase in other directions4 ,the copyright law brings into it1 year by year1 virtually the entire intellectual product of the nation so far as protected by copyright2 as well as a steadily increasing share 7since the extension of the area of copyright protection through the international provisions of the act of #ahia7 of the works of foreign authors4 ,thus the ,national ,library acquires a great store of publications which the other libraries do without1 from lack of means1 or of room1 or of disposition to purchase4 ,it is easy to say that the greater part of the books and periodicals thus acquired are trash2 but it is to be considered that very substantial reasons can be urged why one library should preserve the entire product of the ,american press1 irrespective of intrinsic value4 ,first1 every nation should have1 at its capital city1 all the books that its authors have produced1 in perpetual evidence of its literary history and progress--or retrogression1 as the case may be4 ,secondly1 this complete assemblage of our literature in the ,library of the ,government 7that is1 of the whole people7 is an inestimable boon to authors and publishers1 many of whose books1 after years have elapsed1 may owe to such a collection their sole chance of preservation4 ,thirdly1 it is a most valuable aid to would-be writers to have access to all the works that have been published in the special field they seek to cultivate4 ,fourthly1 one comprehensive library--inclusive and not exclusive--should exist1 because all other libraries must be in a greater or less degree exclusive4 ,fifthly1 all ,american books should be preserved as models--even if many of them are models to be avoided4 ,one learns as much frequently from the failures of others1 as from their successes4 ,sixthly1 it is already provided by law 7and very wisely71 that all copyright publications of whatever character1 shall be deposited in the ,library of ,congress1 and the ,nation is as much bound to conserve these things1 in evidence of copyright1 as to preserve the models in the ,patent ,office1 in evidence of patent right4 ,seventhly1 there is no standard of selection or of exclusion that could be adopted which would stand against the fact of the endlessly varying judgments of different men1 or even of the same men at different periods4 ,what is pronounced trash to-day may have an unexpected value hereafter1 and the unconsidered trifles of the press of the nineteenth century may prove highly curious and interesting to the twentieth1 as examples of what the ancestors of the men of that day wrote and thought about4 ,of course it should be one of the foremost aims of our ,national ,library to secure all books1 pamphlets1 maps and periodicals relating to our own country4 ,everything that can illustrate the discovery1 settlement1 history1 biography1 natural history1 or resources of ,america should be gathered4 ,the already rich collection of ,americana comprises a large share of the earlier works respecting ,america1 nearly all of which are now rare1 as well as of the early printed books of the various ,american presses1 and many published in places where no books are now printed4 ,assiduous pains have been taken to increase these collections from auctions and from sale catalogues in this country and in ,europe4 ,another function of the ,library of the ,nation is to furnish a repository for special collections of books1 manuscripts1 and memorials1 which may be dedicated by their donors to public use4 ,now1 for the first time1 the ,government of the ,united ,states is placed in a position where it can receive and preserve in a fitting manner1 in a noble fireproof edifice1 of ample proportions1 such gifts of private libraries1 etc41 as any of its citizens may present4 ,one such donation1 from a public-spirited citizen of ,washington1 the late ,dr4 ,j4 ,m4 ,toner1 has already been presented and accepted by ,congress4 ,it is to be expected that the example will be followed by other collectors of private libraries1 who feel a natural reluctance that their collections of special value1 costing years of time and much money to assemble1 should be scattered abroad after they have ceased to enjoy them1 leaving no memorial behind4 ,in this connection it should be noted that the ,national ,library furnishes the most obvious and appropriate repository for special collections of manuscripts4 ,when organized into departments1 the systematic collection1 arrangement1 and preservation of manuscripts1 with calendars both alphabetical and chronological1 open to public use1 will form one of the cardinal objects to be kept in view4 ,this too long-neglected field1 though zealously cultivated by the leading historical societies of the country1 has had no proper recognition at the hands of the ,american ,government4 ,while the manuscript papers of four ,american ,presidents have been purchased1 because offered to ,congress by their heirs1 no attempt to obtain and preserve those of the other ,presidents has been made1 nor has any fund been devoted by ,congress to secure the papers of other public men4 ,all the principal nations of ,europe1 and even the ,dominion of ,canada1 have an archivist1 or custodian of manuscripts1 responsible for keeping1 indexing1 and increasing these collections1 whose importance as original documents illustrating the history and biography of the nation can hardly be overrated4 ,to avail of all opportunities offered for securing such manuscript collections1 and to seek out others1 thus preserving for posterity unique and valuable historical materials which would otherwise remain in private hands1 subject to constant diminution or destruction1 should be one cardinal function of the ,national ,library4 ,many such would be freely given by their owners1 if assured of permanent care and preservation in that institution4 ,the acquisition and preservation of pamphlet and periodical literature should be sedulously cultivated by ,national ,libraries4 ,no fact is more familiar to students than the rapid disappearance of these ephemeral but often valuable publications4 ,the chances of procuring any desired pamphlet a few months after its publication are incalculably smaller than those of securing copies of any book4 ,hence the importance of adding them to the one representative library of the ,nation while they are yet fresh and procurable4 ,as this species of literature is seldom protected by copyright1 the greater portion of the pamphlets of any period must remain unrepresented in the ,government ,library unless their authors will take the trouble1 by wise forethought1 to send copies of their productions to ,washington4 ,of the great value of pamphlets1 as exponents of the thought of the time1 and the questions which agitate the public mind1 expressed frequently in condensed and forcible style1 there can be no question4 ,of the periodical literature1 in its vast extent and variety1 now including1 in the ,united ,states alone1 more than twenty thousand different publications1 a ,national ,library should acquire and preserve the more important portions4 ,these1 in the absence of any possibility of providing room for all1 may be held to embrace 7#a7 ,all ,american reviews and magazines1 with a selection of the leading ,english and ,european ones4 7#b7 ,the daily newspapers of the larger cities of the country1 and a few1 at least1 of the principal journals of ,england and the ,continent1 not forgetting the ,american republics1 and ,canada4 7#c7 ,two1 at least1 of the most widely circulated journals of each ,state and ,territory in the ,union1 representing each political party4 ,this has been the established policy of the ,library for thirty years past1 and the bound files of these periodicals constitute one of the most largely used portions of the ,library4 ,only by keeping up full sets of the notable serials1 whether literary1 political1 religious1 historical1 scientific1 legal1 medical1 technical1 agricultural1 economic1 etc41 can the ,library answer the just demands of the national legislature and of the public4 ,in whatever direction ,american libraries may be inferior to those of other and older nations1 they are 7at least in the larger collections7 well equipped with the literature of periodicals4 ,the materials thus furnished to the politician1 the historical writer1 or the student of literature1 are of great and incalculable value4 ,a ,national ,library is not for one generation alone1 but for all time4 ,so much the more important is its function of handing down to the readers and students of the future a full and authentic mirror of each age in its progressive growth1 to be found most vividly in the pages of the daily and weekly journals1 and the magazines and reviews of every class4 ,these periodicals furnish the best impress of the times which can be derived from any single source4 ,stored up in a permanent fireproof repository1 they are ever ready to be drawn upon by those who know how to use them4 ,one little known and imperfectly understood function of the ,national ,library is to furnish evidence of literary property to all who are interested in copyrights4 ,this is rendered possible through the removal to ,washington1 by the copyright act of #ahgj1 of all original records of copyright1 previously scattered in more than forty different offices throughout the various ,states4 ,the registry of copyrights having been transferred to the ,librarian of ,congress1 at the same time1 and continued ever since1 it is easy to follow out the record of any individual copyright1 and thus to trace questions concerning literary property for more than a century4 ,this facility is of great value to publishers and authors1 in the various negotiations constantly being made in questions of renewal of the terms of copyrights expiring1 or in suits at law seeking to establish or to invalidate copyrights by litigation1 or to prevent infringement4 ,incident to this1 it is a part of the function of the ,library to produce any copyright book1 or other publication in its possession1 for inspection by whom ever it may concern4 ,an incidental benefit of the ,library is found in its rich accumulation of works of the fine arts4 ,these include1 besides the multitude of illustrations and galleries to be found in books1 hundreds of thousands of examples of graphic art1 many of them costly and valuable1 acquired by copyright4 ,arranged in classes1 in the spacious art-gallery provided1 they form a most instructive and entertaining exhibit of the progress of the arts of design4 ,of the numerous and beautiful works of art embraced in the decoration of the ,library building1 full account is taken elsewhere in the present volume4 ,suffice it to say here1 that readers and frequenters of the ,library who are surrounded with such architectural and artistic attractions1 will find rich suggestions on every hand1 as they pursue their several aims4 ,what more inspiring adjuncts to study or contemplation can exist than the sumptuous marble arches1 the statues of illustrious authors1 the graphic paintings and sculptured emblems illustrative of science1 literature1 and art1 and the many inscriptions drawn from the writings of the great scholars of the world8 ,the stately ,library building with its precious contents thus contributes not only to the public intelligence1 but also to elevate and to refine the public taste4 ,while every consideration favors the most liberal hours of frequentation and use of the collection1 it is manifestly not a proper function of a ,national ,library to furnish a circulating library for the people of the city in which it is located4 ,all experience proves that a great library of reference cannot be made a library of general circulation without destroying its function as a reference library4 ,every frequenter of the ,national ,library has a right to expect that the books it contains will be found when called for4 ,this is impossible if a large portion of them are out in circulation4 ,nor can this be met by the claim that duplicates would enable the ,library to loan freely4 ,there are no more than enough duplicates to meet the uses of members of ,congress who have the legal privilege of drawing books4 ,moreover1 the few who would be convenienced by the loaning out of the books would be favored only to the inconvenience of the many1 who would find very many of them continually absent from the shelves4 ,the greatest good of the greatest number would thus be unjustly sacrificed4 ,the suggestion has been made that one of the two copies of books received by copyright might be utilized for the purposes of circulation4 ,this is conclusively met by the fact that the copyright deposits are a trust under the law1 like the models in the ,patent ,office1 and while one copy may properly be kept in the ,library1 for the use of ,congress and for public reference1 the other should be sedulously preserved in the copyright archives4 ,all comers1 however1 have free enjoyment of the benefits of this great ,library within its attractive walls1 and are welcomed by its liberal management to share its literary1 scientific1 and artistic treasures4 ,,footnotes3 #a ,those allowed to take books from the building are3 the ,president2 ,vice-,president2 ,senators1 ,representatives1 and ,delegates in ,congress2 ,cabinet ,officials2 the ,justices1 ,reporter1 and ,clerk of the ,supreme ,court2 the ,judges and ,clerks of the ,courts of the ,united ,states in the ,district of ,columbia2 representatives in ,washington of foreign governments2 the ,solicitor ,general and ,assistant ,attorneys-,general2 the ,secretary of the ,senate2 the ,clerk of the ,house of ,representatives2 the ,solicitor of the ,treasury2 the ,disbursing ,agent of the ,committee on the ,library2 former ,presidents of the ,united ,states2 the ,chaplains of the two ,houses of ,congress2 the ,secretary and ,regents of the ,smithsonian ,institution2 the ,members and ,secretary of the ,interstate ,commerce ,commission2 and the ,chief of ,engineers of the ,army4 ,no one1 however1 not even these officials1 may take away any manuscript or map1 or any book of special value and rarity4 ,books are delivered to the order of any of the persons having the special privileges of the ,library1 but only for their own use4 ,they have no authority to give an order in favor of another person4 ,previous to the erection of the new building1 one of the rules of the ,library had permitted the ,librarian1 at his discretion1 to issue books to the public generally1 for home use1 on the deposit of a sum of money sufficient to cover the value of the volume applied for1 but this provision was found to be an embarrassment and has since been abolished4 #b ,the list of the previous ,librarians of ,congress1 with the dates when they were appointed1 is as follows3 ,john ,beckley1 #ahjb2 ,patrick ,magruder1 #ahjg2 ,george ,watterston1 #ahae2 ,john ,s4 ,meehan1 #ahbi2 ,john ,g4 ,stephenson1 #ahfa4 #c ,such as ,races and ,peoples1 by ,dr4 ,daniel ,g4 ,brinton4 #d ,the three groups are reproduced as headpieces to the three portions of this ,handbook3 the first1 representing ,literature1 to introduce the present general description2 that representing ,art1 over ,mr4 ,caffin's essay2 and the third1 representing ,science1 over ,mr4 ,spofford's4 #e ,mr4 ,w4 ,c4 ,brownell1 in ,scribner's ,monthly4 #f ,the panel of ,the ,family is shown in the view of the ,north ,corridor1 given on the opposite page4 ,the border referred to a few lines below is reproduced in the ,handbook on ,page #ba1 as a heading to the present description of the ,main ,entrance ,hall4 #g ,the following is the list1 beginning1 in each corridor1 at the left-hand end of the outer wall4 ,the dates appended to the names are from ,mr4 ,roberts's book3 ,west ,corridor--,wolfgang ,koepfel #aebc2 ,fust and ,schoeffer1 #adeg2 ,craft ,mueller1 #aecf-fb2 ,conrad ,baumgarten1 #aejc-e2 ,jacobus ,pfortzheim1 #adhh-aeah2 ,cratander1 #aeai2 ,valentin ,kobian1 #aecb-db2 ,martin ,schott1 #adih2 ,melchior ,lotter1 #adia-aecf2 ,theodosius and ,josias ,rihel1 #aece-afci4 ,south ,corridor--,rutger ,velpius 7,flemish71 #aeec-afad2 ,f4 ,estienne1 #aebe2 ,simon de ,colines1 #aebj2 ,franois ,regnault1 early part of the sixteenth century2 ,simon ,vostre1 #adhh-aebh2 ,sebastien ,nivelle1 latter part of the sixteenth century2 ,m4 ,morin1 #adhd-aeah2 ,sebastien ,gryphe1 second quarter of the sixteenth century2 ,andr ,wchel1 #aece2 ,geoffroy ,tory1 #aebd2 ,guillaume ,chandire1 #aefd2 ,pierre ,le ,rouge1 #adhh2 ,mathurin ,breuille1 #aefb-hc2 ,etienne ,dolet1 #aedj2 ,jehan ,treschel1 #adic2 ,jehan ,petit1 #aebe4 ,east ,corridor--,paul and ,anthony ,meietos 7,italian71 #aegj2 ,gian ,giacomo de ,leguano 7,italian71 #aejc-cc2 ,juan ,rosenbach 7,spanish71 #adic-aebf2 ,andrea ,torresano 7,italian71 #adha-aedj2 ,valentin ,fernandez 7,spanish71 #aeja2 ,christopher ,plantin 7,flemish71 #aeeg2 ,daniel ,elzevir 7,dutch1 the mark of the ,sage71 #afag-afbe2 the ,brothers ,sabio 7,italian71 early part of the sixteenth century2 ,melchior ,sessa 7,italian71 sixteenth century2 ,ottaviano ,scotto 7,italian71 #adhj-aebj2 ,giammaria ,rizzardi 7,italian71 latter part of the eighteenth century2 ,filippo de ,ginuta 7,italian71 #aeae2 ,lucantonio de ,giunta 7,italian71 #aejj2 ,aldus ,manutius 7,italian71 #aejb4 ,north ,corridor--,d4 ,appleton ,co42 the ,de,vinne ,press2 ,charles ,scribner's ,sons2 ,harper ,brothers2 ,houghton1 ,mifflin ,co4 7the ,riverside ,press72 the ,century ,co42 ,j4 ,b4 ,lippincott ,co42 ,dodd1 ,mead ,co42 ,william ,caxton1 #adhi2 ,richard ,grafton1 #aecg-gb2 ,thomas ,vautrollier 7,edinburgh and ,london71 #aeef-afje2 ,john ,day1 #aedf-hd2 ,william ,jaggard1 #aeie-afbd2 ,a4 ,arbuthnot 7,edinburgh71 #aehj2 ,andrew ,hester1 #aeej2 ,richard ,pynson1 #adic-aebg4 ,of the marks in this last corridor1 those on the north are of ,american houses1 all contemporary1 and on the south1 of early ,english and ,scottish printers and publishers4 #h ,the original cartoon for this mosaic is reproduced as the frontispiece of this ,handbook4 #i ,from a tract entitled ,considerations on the ,east ,india ,trade1 #agja4 #aj ,the accompanying illustration of ,mr4 ,flanagan's clock is taken from a preliminary sketch in clay4 #aa ,in the ,south ,gallery1 or ,print ,room1 the names are those of the ,signers of the ,declaration of ,independence4 ,in the ,southeast ,gallery1 those of ,inventors3 ,gutenberg1 ,daguerre1 ,schwartz1 ,montgolfier1 ,watt1 ,cooper1 ,stevens1 ,newcomen1 ,trevithick1 ,hargreaves1 ,corliss1 ,arkwright1 ,jacquard1 ,fitch1 ,fuller1 ,wood1 ,wheatstone1 ,whitney1 ,morse1 ,vail1 ,goodyear1 ,ericsson1 ,hoe1 ,mc,cormick1 ,howe1 ,bessemer1 ,westinghouse1 ,edison1 and ,bell4 ,architects and ,engineers are commemorated in the ,northeast ,gallery2 ,ictinus1 ,vitruvius1 ,anthemius1 ,palladio1 ,vignola1 ,sansovino1 ,bramante1 ,brunelleschi1 ,michael ,angelo1 ,lescot1 ,duc1 ,delorme-,labrust1 ,mansard1 ,bulfinch1 ,wren1 ,jones1 ,walter1 ,richardson1 ,hunt1 ,archimedes1 ,stephenson1 ,smeaton1 ,vauban1 ,lavally1 ,jarvis1 ,eads1 ,schwedler1 ,roebling1 and ,barnard4 ,in the ,map ,room 7,north ,gallery7 the list is miscellaneous1 including ,theologians1 ,physicians1 ,jurists1 ,scientists1 ,musicians1 ,sculptors1 and ,painters3 ,lycurgus1 ,coke1 ,justinian1 ,blackstone1 ,montesquieu1 ,marshall1 ,story1 ,hippocrates1 ,avicenna1 ,harvey1 ,paracelsus1 ,jenner1 ,hahnemann1 ,st4 ,augustine1 ,bowditch1 ,chrysostom1 ,st4 ,bernard1 ,bossuet1 ,pascal1 ,edwards1 ,channing1 ,euclid1 ,pythagoras1 ,pliny1 ,copernicus1 ,darwin1 ,humboldt1 ,agassiz1 ,faraday1 ,mendelssohn1 ,mozart1 ,haydn1 ,bach1 ,liszt1 ,wagner1 ,phidias1 ,apelles1 ,da ,vinci1 ,giotto1 ,perugino1 ,raphael1 ,titian1 ,guido ,reni1 ,correggio1 ,drer1 ,pallissy1 ,thorwaldsen1 ,rembrandt1 ,rubens1 ,van ,dyck1 ,murillo1 ,holbein4 #ab ,for a description of this map1 see ,justin ,winsor's ,narrative and ,critical ,history of ,america1 ,boston1 #ahhf1 ,vol4 #b1 p4 #abd2 or ,harper's ,monthly for ,december1 #ahhb4 #ac ,the order in which the various paintings in the ,library are treated in the present essay is substantially the same as in the preceding portion of the ,handbook4 ,,transcriber',s ,,note ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,six occurrances of #8,michael ,angelo' have been left unchanged 7not changed to ,michaelangelo74 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained3 for example1 fire-proof1 fireproof2 hand-glass1 handglass2 sea-shell1 seashell2 atheistical2 vermiculated2 ,hindoo2 ,corean2 falchion2 lyrists2 ideality2 pedler2 undistracted2 blazonry4 ,pg #g3 #8,library in ,pittsburg' replaced by #8,library in ,pittsburgh'4 ,pg #bc3 #8those of the achitecture' replaced by #8those of the architecture'4 ,pg #ce3 #8by door-and' replaced by #8by door- and'4 ,pg #dj3 #8rests a a border' replaced by #8rests a border'4 ,pg #ej3 #8is a rectagular' replaced by #8is a rectangular'4 ,pg #ee3 #8buildings commemmorated' replaced by #8buildings commemorated'4 ,pg #ee3 #8a small tympanun' replaced by #8a small tympanum'4 ,pg #fc3 #8will reflect thing' replaced by #8will reflect things'4 ,pg #ff3 ,the anchor for ,footnote #aj was missing and has been inserted after the heading ,mr4 ,flanagan's ,clock4 ,pg #fi3 #8unobstrusively added' replaced by #8unobtrusively added'4 ,pg #hb3 #8require the freeest' replaced by #8require the freest'4 ,pg #aab3 #8of the genuises' replaced by #8of the geniuses'4