vented by Henry Fox Talbot (considered one of the most important steps in photography, as it includes the photographic negative); 4. The Stereoscope and Stereoscopic photographs. Note *Stereoscopic portraits of Maj.-Gens. W. T. Sherman, James B. McPherson, Franz Siegel, N. P. Banks, A. E. Burnside, etc.; 5. Ambrotype; 6. The plain Silver Print (Crystalotype); 7. The Albumen Silver Print (wet collodion negative); 8. Carbon Printing; 9. Platinotype, invented 1873; 10. Development of the Photographic camera. This collection comprises a series of some 250 pieces of apparatus dating from the introduction of Frederick Scott Archer's Collodion wet-plate process, 1852, and includes most of the important improvements up to the present time; II. Motion Pictures, represented by a large number of prints and some apparatus used by Muybridge, the pioneer in motion picture art: also a series of Jenkins early motion picture models; 12. Collection of pictorial photographic specimens by H. P. Robinson, Frederick Hollyer, etc.; 13. Printing by development; representing various "gas-light papers"; 14. Photography__in Astronomical work; 15. X-Ray Photography; 16. The Photomicrograph.

West Wing Gallery: Collections illustrative of the Rites and Development of the Great Historic Religions: Judaism, Buddhism, Brahmanism, Shintoism and the Russian and Roman Catholic Churches.

Southwest Pavilion Gallery: Industrial Arts: Feathers and feather-work; sealing wax and glues; brushes and bristles; leather and leather-work, including gloves and shoes; feather-bone and whale-bone; carved horn, including mountain sheep and rhinoceros horn; tortoise shell; mother-ofpearl work, including buttons; carved teeth and tusks, including alligator, walrus and mammoth ivory.

South Wing Gallery: Industrial Arts continued: Exhibition illustrating the manufacture of felt hats; exhibition of various textile materials and fabrics, including raffia, palm fibre, pineapple fibre and banana fibre; collection of straw and other braids; exhibition of Japanese textiles, cotton cord and rope; more textiles, including bark-cloth, crude bast, jute, and several cases of hemp, including Japanese, Spanish, Italian and native Kentucky species.

Northeast Pavilion Gallery: CERAMICS: Aboriginal Pottery, Native tribes of North America; Spanish-American and Portuguese-American Wares; Pottery and porcelain of the United States; English pottery and porcelain, including Wedgewood; French pottery and porcelain, including Sévres; Holland Old Blue and Polychrome, Delft and Amstel; Spanish and Hispano-muresque pottery; *African ceramic work (Moorish); Siamese brass repoussé and enamel; Korean mortuary pottery and ceremonial vessels from graves (11th Century A. D. and earlier); Japanese pottery and porcelain, bronzes and lacquer ware; Silver and gilt work from the Philippine Islands.

V. The Smithsonian Institution-The Freer Gallery

The *Freer Gallery of Art (Pl. I-B-4), at the S. W. cor. of the Smithsonian Grounds, is, together with the collection which it houses, the gift of Charles L. Freer of Detroit, Mich., who during his lifetime generously erected the Gallery at a cost of $1,200,000, and left by will an endowment of some $2,000,000, the income of which provides a fund for purchases of works by American and Oriental artists. Mr. Freer died Sept. 25, 1919, and the entire Freer Collection was received in November of the following year. Since it was found that visitors seriously interrupted the task of unpacking and distributing the exhibits, the Freer Building has been closed to visitors during the work of installation.

The FREER BUILDING, designed by Charles A. Platt, is a rectangular structure of gray Milford (Mass.) granite, on the Italian Renaissance order, measuring 228 ft. in length by 185 ft. in depth, and consisting of a high basement surmounted by a single main story, divided into 19 exhibition halls of various dimensions, surrounding a central open court approximately 60 ft. square, exclusive of surrounding loggias. This court is of Tennessee marble. The basement contains in addition to the Administrative Offices, an Auditorium, a series of study rooms and ample storage space for such portions of the collection as will not be placed on public view. Throughout the main story, on which the works of art will be exhibited, the floors of both galleries and corridors are entirely of marble and tarazzo. The Curator is Mr. J. E. Lodge, of the Museum of Fine Arts, Boston.

History. In Dec. 1904 Mr. Freer offered to bequeath or make present conveyance of his collection, either to the United States Government or to the Smithsonian, under certain specified conditions. The story goes that Prsident Roosevelt, learning indirectly of this generous

offer, insisted upon having it looked into, and thus saved to the Nation a unique collection which seemed then on the point of being lost.

The conditions under which Mr. Freer's offer was finally accepted by the Board of Regents, Jan. 24, 1906, were in part as follows: That the collections and building should always bear the donor's name "in some modest and appropriate form"; that no addition or deduction should be made after the donor's death, and nothing else ever be exhibited with these collections or in the same building, and no charge ever made for admission; that the building itself should be arranged with special regard for the convenience of students, and a suitable space provided, in which the famous Peacock Room, made by Whistler for the shipbuilder Leyland, should be re-erected complete; that the collection should remain in Mr. Freer's possession during life, and subsequently in possession of his executors until completion of the building. Mr. Freer afterwards modified some of these conditions, and decided upon an early erection of the building and transfer of the collection to Washington. War conditions, however, delayed the work, and he died before seeing his project fully realized.

The principal entrance to the Freer Gallery is through a loggia and vestibule opening upon a large square hall. On R. and L. of entrance are coat rooms. The corridor which divides this hall from the inner open-air court leads on R. to four rooms devoted to paintings by American artists. three being assigned respectively to works by Thomas W. Dewing, Dwight W. Tryon and Abbott H. Thayer, while the fourth contains a miscellaneous collection. The galleries on the further side of the building, five in number, are devoted wholly to the works of Whistler, the one at the extreme left corner containing the famous Peacock Room. All the remaining galleries on the exhibition floor are devoted to works of Oriental Art, the Chinese, Persian and Lydian exhibits being assigned to the rooms on the L. side, and the Japanese on the R. side of the central court.

Each of the exhibition galleries has its own separate skylight, and all these rooms have purposely been made small in order that the light shall fall upon the walls at a proper angle. Equally careful attention has been given to regulation of temperature. The Freer collection contains many Oriental objects which might suffer injury from too dry an atmosphere. Accordingly, devices have been installed to furnish the requisite moisture whenever the air becomes too dry.

Since it is impossible, at the present stage of installation (1922), to give even approximately a summary of the contents of the separate rooms, the following general statement of the scope of the Freer Collection is here given for information of visitors, in the event of the unforeseen early opening of the Museum.

American Paintings, Drawings, etc. Thomas Wilmer Dewing (1851- ): I. Portrait of a Young Girl; 2. The Piano; 3. The Blue Dress; 4. After Sunset; 5. The Carnation; 6. Early Portrait of the Artist's Daughter; 7. Before Sunrise: 8. Portrait in Blue; 9. Study of a Woman Seated; 10. Girl with Lute; 11. Mandolin; 12. La Comedienne; 13. The Mirror; 14. Yellow Tulips; 15. Lady Playing the Violoncello; 16. The Garland; 17. In White; 18. The Lute; 19. The Four Sylvan Sounds (painted on wooden screens); 20-22. Portraits, including one of the artist; also 9 pastels and 3 silver points. Childe Hassam (1859- ), The Chinese Merchants; Winslow Homer (1836-1910), Early Evening; also 3 water colors Gari Melchers (1860- ), Portrait of President Roosevelt; John S. Sargent (1856- ): 1. Landscape with Goats; 2. The Weavers; Joseph Lindon Smith (1863- ): 1. Priestess from Ankor-Wat, Cambodia; 2. Seated Buddha, from monument of Boro-Boedor, Java; Abbott H. Thayer (1849-1921): 1. Head; 2. The Virgin; 3. Diana; 4. Sketch of Cornish Head'ands; 5. Capri; 6. Monadnock in Winter; 7. Monadnock No. 2; 8. Winged Figure; 9-11. Three Portraits, including artist's son and eldest daughter; Dwight W. Tryon (1849- ): 1. Á Lighted Village: 2. Moonlight; 3. The Rising Moon-Autumn; 4. SeaSunset; 5. Twilight-Early Spring; 6. Springtime; 7. Daybreak-May; 8. Sunrise-April; 9. New England Hills; 10. Twilight-May; Evening Star; 12. Morning; 13. Sea-Night; 14. Sea-Morning; 15. Springtime; 16. Summer; 17. Autumn; 18. Winter; 19. Dawn; 20. The Sea-Evening; 21. April Morning; 22. October; 23. Autumn Day; 24. Night; 25. Autumn Morning; 26. Twilight-Autumn; 27. EveningSeptember; 28. Twilight-November; 29. Autumn Evening; 30. Morning Mist; also 2 water colors and 16 pastels; John Henry Twachtman (1853-1902): 1. Drying Sails; 2. The Hidden Pool.

II.

The chief feature, however, of the American Art Collection is comprised in the 1200 examples of the work of James McNeill Whistler (1834-1903), including oils, water colors, etchings and lithographs. The following is a list of the oil paintings, with a brief summary of the other works.

Oil Paintings. 1. Portrait Sketch of Mr. Whistler; 2. Portrait of Major Whistler; 3. Portrait of F. R. Leyland; 4. Rose and Silver-La Princesse du Pays de la Porcelaine; 5. Jeune Femme Dite L'Americaine -Arrangement in Black and White No. 1; 6. Nocturne: Southampton; 7. Nocturne: Blue and Silver-Bognor; 8. Nocturne: Blue and SilverBattersea Beach; 9. Nocturne: Blue and Silver-Chelsea Embankment; 10. Symphony in Gray-Early Morning, Thames; 11. Nocturne: Opal and Silver; 12. The Thames in Ice; 13. Blue and Silver-Trouville; 14. Variations in Pink and Gray-Chelsea; 15. Variations in Flesh Color and Green-The Balcony; 16. Harmony in Purple and Gold, No. 2— The Golden Screen; 17. The Little Blue and Gold Girl; 18. Venus Rising from the Sea; 19. Venus; 20. Symphony in Green and Violet; 21. The White Symphony-Three Girls; 22. Symphony in White and Red; 23. Variations in Blue and Green; 24. Symphony in Blue and Pink; 25. Rose and Gold-The Little Lady Sophie of Soho; 25. The Little Red Glove (unfinished); 27. Rose and Brown-La Cigale; 28. An Orange Note Sweetshop; 29. A Note in Blue and pal-The Sun Cloud; 30. Vert et Or-Le Raconteur; 31. Petite Mephiste; 32. Green and Gold-The Great Sea; 33. The Little Nurse; 34. The Angry Sea; 35. The Summer Sea; 36. Blue and SilverBoat Entering Pourville; 37. Gray and Gold-High Tide at Pourville; 38. The Butcher Shop; 39. The Gray House; 40. Purple and GoldPhryne, the Superb, Builder of Temples; 41. Chelsea Shops: 42. Blue and Gray-Unloading; 43. The Sea and Sand; 44. Harmony in Brown and Gold-Old Chelsea Church; 45. Blue and Green-The Coal Shaft;

46. The White House; 47. Wortley-Note in Green; 48. Low Tide; 49. A Note in Red; 50. A Portrait; 51. Devonshire Landscape; 52. Little Green Cap; 53. Yellow and Blue; 54. Purple and Blue; 55. Trafalgar Square Chelsea; 56. Portrait of Stevie Manuel; 57. Nocturne: Blue and Gold-Valparaiso; 58. The Little Faustina (unfinished); 59. Gray and Silver-The Life Boat; 60. Gold and Orange-The Neighbors; 61. The Little Red Note; 62. The Sad Sea-Dieppe; 63. The Music Room. Water Colors, Pastels, Drawings, etc. The Whistler Collection includes, in addition to the Oil Paintings, 47 Water Colors; 40 Pastels; 117 Drawings and Sketches; three Wood Engravings; 683 Etchings which include several impressions of some of the plates; 194 Lithographs; 38 Original Copper Plates; and *The Peacock Room, Whistler's famous creation for the London residence of the late F. R. Leyland, including complete woodwork and all decorations.

The ORIENTAL COLLECTIONS, comprising the second and far larger portions of the exhibits, embraces a dozen different divisions of Eastern Arts and Crafts:

Babylonian: Bronze metal work, one exhibit; Byzantine: Crystal, 1; manuscripts, 29; gold metal work, 8; paintings, etc., 10; Cambodian: ivory, 6; bronzes, 4; Chinese: furniture, 22; glass, 14; jade, etc., 503; lacquer, 17; bronze and other metal work, 725; paintings, 1255; pottery, 481; sculpture, 196; textiles, 183; Cypriote: 2 exhibits; Egyptian: glass, 1391; pottery, 254; sculpture, 40; Greek: 3 exhibits; Japanese: lacquer, 29; metal work, 47; paintings, 804; pottery, 821; sculptures, 63 textiles, 79; Corean: metal work, 197; pottery, 229; sculptures, 14; East Indian: metal work, 22; paintings, 139; pottery, 317; Palmyran: I sculpture; Tibetan: 13 paintings.

VI. The Washington Monument

The **Washington Monument (Pl. II-D-6), stands in the center of a gently sloping mound, a little S. E. of the point where the central axes of the Executive Grounds and the Mall would intersect at right angles. The surrounding area, comprising about 41 acres, is known officially as Washington Park.

History. At the close of the Revolutionary War, in 1783, an Equestrian Statue of Washington was authorized by the Continental Congress, and the American Minister to France was directed to order it. The plan, however, was held in abeyance through lack of funds. Nevertheless, the present site of the Monument was designated for the statue on L'Enfant's plan of the city, and approved by Washington himself. On Dec. 24th, 1799, within the week following Washington's funeral, Congress passed a resolution to the effect, "That a marble monument be erected by the United States at the City of Washington, and that the family of General Washington be requested to permit his body to be deposited under it." In 1800 the House of Representatives appropriated $100,000, and again in 1801, $200,000, for the purpose of "creating a Mausoleum," but both bills were defeated through Senate amendments and other technicalities.