Shadows Lie; Thomas P. Anshutz (1851-1912), A Dutchman; Thomas Sully, Portrait of Mrs. Fanny Yates Levy; John S. Sargent, Portrait of Gen. Leonard Wood; Emil Carlsen (1853- ), Moonlight on a Calm Sea; Mary Cassatt, Little Girl Embroidering; J. Alden Weir, Portrait of Miss de L-; Walter MacEwen (1860- ), Un Ancêtre; Walter Elmer Schofield (1867- ), Cliff Shadows; J. Francis Murphy (1853- ), October.

East Wall: Carl Rungius, Landscape; Robert Lee MacCameron (1866-1912), Groupe d'Amis.

Continue through the W. door to GALLERY G, at S. W. cor. of building. This room is used for temporary exhibits. At present (1922) it contains the collection of "Flag Paintings," by Childe Hassam.

The north door leads into GALLERY H:

North Wall: (E. to W.): Jules Bréton (1827-1906), Brittany Widow; Léon A. L'hermitte (1844- ), La Famille.

West Wall: Jules Dupré (1811-89), The Pond of the Great Oak; Erskine Nicol (1825-1904), Paddy's Mark; George Morland (1763-1804), The Warrener; C. F. Daubigny (181778), A Hamlet on the Seine near Vernon; Adolphe Monticelli (1824-86), Landscape; Emile Van Marke (1827-90), Landscape with Cattle; J. B. C. Corot (1796-1875), The Wood Gatherers; Gustave Courbet (1819-78), Landscape; Jean Charles Cazin (1840-1901), Moonlight in Holland; Ferdinand Heilbuth (1826-89), On the Pincian Hill, Rome (Cardinal Questioning Acolytes); N. V. Diaz de la Peña (1808-76), The Approaching Storm; Constant Troyon (1810-65), The Drinking Place; Blaise Alexandre Desgoffe, Souvenirs of the Sixteenth and Seventeenth Centuries.

South Wall: F. H. Kaemmerer (1839-92), Beach at Scheveningen; C. F. Daubigny, Landscape; Cesare Maccari (1840- ), The Fortune Teller; Alphonse M. de Neuville (1836-85), Champagny.

East Wall: Théophile de Bock (1851-1904), The Poudon Commons; Ludwig Knaus (1829-1910), The Forester at Home; Thomas Couture (1815-79), Female Head; Emile Breton, Winter Moonrise; Jozef Israels (1824-1911), Interior of a Cottage; J. J. Henner (1829-1905), Joan of Arc in Infancy; Martin Rico (1850-1908), The Banks of the Adige; Adolphe Schreyer (1828-99), The Watering Place: Felix Ziem (1821-1911), Constantinople from the Golden Horn.

Return to the atrium and enter GALLERY I through first door on left, N. of stairway.

North Wall: (E. to W.): Jules Dupré (1811-89), Moonlight by the Sea; Jean Louis Géricault (1791-1824), Study of a Torso; Jean Georges Vibert (1840-1902), The Schism; Emile

Renouf (1845-94), The Helping Hand; Franz Linder (17381809), The Butterfly; Johannes H. L. De Haas (1832-80), Holland Cattle; Gaetano Chierici (1838- ), Fun and Fright.

West Wall: Louis Aimé Japy (1830-1916), Twilight; Ary Scheffer (1797-1858), Portrait of Commodore Charles Morris; Oscar Bjorck (1860- ), The Nail Makers; John Jackson (1778-1831), A Portrait; B. Peretti, Autumnal Corn and Grapes; Luigi Chialiva (1842-1914), A Shower; Hector Leroux (1829-1900), *The Vestal Tuccia; Johann Wilhelm Preyer (1803-89), Fruit; Luigi Chialiva, Fine Weather; Louis Mettling (1847-94), Study Head of a Young Man; Emile Bréton (1831-1902), Sunset; Sir Philip A. de Laszlo, *Head of an Indian Prince; Louis A. Japy, Spring Landscape.

South Wall: Gustave Loiseau (1865- ), The Inundation; Simon Saint-Jean (1808-60), Fruit; Jan Bedys Tom (1813-. ), Cattle; E. L. G. Isabey (1804-86), The Wedding Festival; Samuel F. B. Morse (1791-1872), The Old House of Representatives; Giovanni Battista Piazzetta (1682-1754), Twɔ Heads; Pierre Edouard Frère (1819-86), Preparing for Church; Pierre E. T. Rousseau (1812-67), Landscape; Luigi Loir, Effect of Snow.

East Wall: Aimé Morot (1850- ), *El Bravo Toro; Frank Blackwell Mayer (1827-99), Leisure and Labor Georges C. Jeannin, Vase of Flowers; Richard Burnier (1826-84), Cattle on the Sea Shore, near Scheveningen; Ferdinandus De Brackeleer (1792-1883), The Happy Family; Jean Louis de Marne (1754-1829), Interior; Franz Lenbach (1836-1904), *Otto, Fuerst von Bismarck; F. De Brackeleer, The Unhappy Family; Emile Gustave Couder, Flower Piece; Charles Ferdinand Venneman (1803-75). The Village Doctor; Pierre Charles Comte (1823-95), A' Scene at Fontainebleau: Anatole Vely (1838-82), *The Talking Well.

The CORCORAN SCHOOL OF ART, in the N. end of the Art Gallery Building, but with entrance on New York Ave., is open annually, from October to May, inclusive. It gives free instruction in drawing, painting, composition, anatomy and perspective. The only charge is an annual entrance fee of $10.00 paid in advance.

III. Lafayette Square

LAFAYETTE SQUARE, (P1 II-C4) facing the White House on the north, is a rectangular park of about seven acres, bounded on the S. by Pennsylvania Ave., on the N. by H St., and on the E. and W. by Madison and Jackson Places. Historically it is the most interesting of the smaller parks, having been for nearly a century the center of Washington social life, while almost every house surrounding it is rich

in historical associations. Across this square Farragut walked with his seconds, on his way to the duel which was to end in his death; on the E. side of the square Sickles shot and killed Philip Barton Key; while on the Tuesday following Lincoln's assassination, when the body lay in state in the East Room, and the public were admitted, the entire square was thronged with waiting crowds, even at nightfall, when the doors were closed.

As originally planned, Lafayette Square extended all the way from 15th to 17th St. The name is said to have been chosen by Washington. No attempt to improve or lay out the grounds was made until after the War of 1812, the whole space remaining a neglected common destitute of trees, and used as a parade ground for military muster. At the W. corner there was an oval race-course, and Pennsylvania Ave. betw. 17th and 20th Sts. was the home-stretch. Jefferson was the first to interest himself in improving the park, at the same time considerably reducing it by cutting off both ends on the lines now marked by Madison and Jackson Pls. The first edifice facing the Square was St. John's Church (p. 195), erected in 1816, and the first private residence the Decatur House (p. 192), dating from 1819.

Lafayette Square contains five noteworthy monuments. At the S. E. corner is the Lafayette Memorial, erected by Congress in memory of the services of General Lafayette and his compatriots in the years of 1777-83. The figures were modeled by two French sculptors, Alexandre Falguière and Antonin Mercié, and the pedestal designed by Paul Pujol. Surmounting the pedestal is the standing figure of Lafayette in bronze, heroic size, while below, in front, a partly draped figure, symbolizing America, is reaching up her sword to him. On the E. and W. sides of the pedestal respectively stand bronze figures_of_D'Estaing and De Grasse, of the French Navy, and of Rochambeau and Duportail of the French Army (note the distinguishing details of the anchor and the mortar).

The plans by Falguière and Mercié, chosen out of seven submitted in competition, in their original form proposed for the four subordinate statues of French officers the names of Rochambeau, Custine, Lauzin and Lameth. The Commissioners appointed by Congress and consisting at that time of Secretary Endicott, Architect Clark and Senator Everts, were not satisfied with the choice. Accordingly they invoked the aid of Robert C. Winthrop, Bancroft the historian, and almost every historical society in America, before arriving at the selection eventually approved.

At the N. E. cor. of the Square stands the monument to Tadeusz Kosciuszko (1746-1817), the "Hero of both Hemispheres," a full length statue in bronze, heroic size, surmounting a lofty pedestal of Vermont granite (height 17 ft., weight 115 tons), surrounded by four bronze sculptures (Antonio Popiel, artist). The monument fronts to the N. On the pedestal is inscribed the one word, "Saratoga," the

scene of Kosciuszko's chief service in America. Above: in bronze, the Western Hemisphere, with an American Eagle holding the Stars and Stripes. S. side: "Raclawice" (the scene of Kosciuszko's greatest Polish victory, April 4th, 1794). Above: in bronze, the Eastern Hemisphere with Eagle of Freedom strangling Serpent of Despotism.

"The inscription is the well-known quotation: "And Freedom shrieked as Kosciuszko fell." The statue was "erected by the Polish National Alliance of America, and presented to the United States in behalf of the Polish-American Citizens, May 11th, 1910.'

E. side: Bronze group. American soldier cutting the bonds of the American farmer, freeing him from the foreign yoke. W. side: Polish soldier wounded and falling, is protected by Polish farmer with scythe.

At the N. W. cor. of the Square stands the monument to Baron von Steuben (1730-94), modeled by Albert Jaegers, and unveiled Dec. 7th, 1910. A replica presented to the former Emperor of Germany, William II, and to the German nation was unveiled at Potsdam Sept. 2d, 1911.

On the W. Side of the pedestal is a bronze group consisting of a seated woman admonishing a kneeling lad and symbolizing "Com. memoration." On the E. side a helmeted warrior in classic garb is instructing a youth, representing "Military Instruction." On the S. side: bronze plaque with medallion portraits of Col. William Worth and Maj. Benjamin Walker, aides and friends of von Steuben.

Baron von Steuben offered his services to Congress in 1778, and was appointed instructor general of the Continental Army, with rank of Major General. He drilled Washington's defeated army at Valley Forge. took active part in the siege of Yorktown, and was a member of the Court Martial which tried Major André. Congress granted him a pension of $2400.

S. W. cor.: Monument to Rochambeau given by France in 1902 (F. Hamar, sculptor). Bronze figure, heroic size, facing S.; below: female figure symbolizing liberty, holding sword and banner, with American eagle at her side. side, inscription:

N.

"We have been contemporaries and fellow-laborers in the cause of liberty, and we have lived togther, as brothers should do, in harmonious friendship." Washington to Rochambeau, Feb. 1st, 1784.

Rochambeau came to America with an army of 6000 French soldiers to help Washington, and his co-operation with the forces of Lafayette resulted in the defeat of Cornwallis at Yorktown. When this statue was unveiled by President Roosevelt, in 1902, among those present were representatives of the families both of Lafayette and Rochambeau.

In the center of the Square is located the much discussed Equestrian Statue of Andrew Jackson, modeled by Clark Mills and cast by him at Bladensburg, where he set up a furnace for the purpose. It was the first successful large bronze casting made in the United States.

This statue cast from cannon captured by Jackson in his various battles, was inaugurated Jan. 8th, 1853, being the 38th anniversary of Jackson's victory at New Orleans.

There are two bronze replicas: one in New Orleans, the scene of Jackson's achievement; the other in Nashville, Tenn., where his ashes repose.

A popular legend, repeated in practically all the guide books, is to the effect that this statue of a rearing horse is so delicately adjusted that it stands poised on hind feet without any pivot or anchor. In point of fact it is securely bolted to the foundation as a protection against the danger of high winds, a possible earthquake shock or other casualties. But the statue does balance; and Mr. Mills used to demonstrate this fact with a miniature replica of the horse, which balanced perfectly whether mounted or unmounted.

Almost every house facing on Lafayette Square is historic. Beginning on the E. side, at Pennsylvania Ave. and Madison Place (formerly 151⁄2 St.), adjoining the Riggs Bank on the E. and the Belasco theatre on the N. is the recently erected Treasury Annex, a classic structure of gray Indiana limestone, with 8 Ionic columns on the principal or Lafayette Park façade. It is connected with the Treasury Building by a tunnel under Pennsylvania Ave. The Annex contains the Income Tax Unit. The site which it occupies is that of the seventh house on the Square, erected about 1836 by Dr. Thomas S. Gunnell, a dentist, whom President Van Buren appointed City Postmaster. Later Postmaster General Samuel D. Hubbard lived here. During the Civil War this house was temporarily (1863) headquarters of the Department of Washington.

The Belasco Theatre, formerly the Lafayette Square Opera House, was designed and supervised by U. H. Painter, a civil engineer. A bronze memorial tablet, erected by the architect's daughters in 1902, records the fact that the building "was erected of steel skeleton construction, stone, terra-cotta, mackite and brick, to prove that an opera house can be made safe at all times from fire and panic." theatre was first opened September 30th, 1895.

The

The above mentioned tablet also preserves in bronze a basrelief presentment of the historic *Rodgers House, which occupied this site for the greater part of a century. The land was once owned by Henry Clay, who conveyed it to Commander John Rodgers in exchange for a jackass which Rodgers had brought from a foreign port. Here Rodgers built the third house on the Square, in 1831. After his death it became the home of Roger B. Taney while Secretary of the Treasury (1833); then of James K. Paulding, Secretary of the Navy (1838). After this it was, for a while, a fashionable boarding house, numbering among its guests John C. Calhoun, while Jackson's Secretary of War, and Henry Clay, while Secretary of State. Subsequently, it be came the home of the fashionable and exclusive Washington Club. Daniel Sickles and Philip Barton Key were both members; and it was about 100 ft. S. of the club house door that Sickles shot and killed Key, February 27th, 1859 (p. 193). The house was modernized and occupied by William H. Seward, while Secretary of the State under Lincoln; and here, on the night of April 14th, 1865, Mr. Seward, then critically ill as the result of a runaway accident, was attacked and