with the middle panel, yellow; proceeds S. through orange, red and violet, then N. from centre through green, blue and indigo. For practical purposes, however, it is simpler to take them in their natural order upon the ceiling:

(S. to N.) 1. VIOLET, the Light of State. The central figure is Columbia, symbolizing the United States as the ideal form of govern. ment, whose National colors, red, white and blue unite to form violet. Cherubs in corners: 1. Justice; 2. Liberty; 3. Equality; 4. Suffrage.

No. 2. RED, the Light of Poetry. Central figure, the Spirit of Poetry mounted upon Pegasus. Cherubs in corners: 1. Tragedy and Comedy; 2. Lyric Poetry; 3. Pastoral Poetry; 4. Fable.

No. 3. ORANGE, the Light of Excellence. Central figure, Progress, ascending the steps of a pryamid. Cherubs in corners: 1. Sculpture and Architecture; 2. Transportation; 3. Telephone and Phonograph; 4. In. vention and Design.

No. 4. YELLOW, the Light of Creation. Central figure, the Spirit of the Lord, who, from the midst of clouds, issues the command, "Let there be Light." Cherubs in corners: 1. Physics; 2. Metaphysics; 3. Psychology; 4. Theology.

GREEN, the Light of Research.

No. 5. Central figure, the Spirit of the Lens, surrounded by the sea, whose teeming life affords her an infinite field of investigation. Cherubs in corners: 1. Microscopy; 2. Chemistry; 3. Archaeology; 4. Mineralogy.

No. 6. BLUE, the Light of Truth. Central figure, the Spirit of Truth trampling upon the Dragon of Ignorance. Cherubs in corners: symbolize the Universal Law by attributes of the level, the plumb-line,

etc.

No. 7. INDIGO, the Light of Science. Central figure, Astronomy, studying the stars under the guidance of the soul, personified as a butterfly. All the corner cherubs have astronomical attributes.

Through the S. door of the corridor we enter a small lobby, richly finished in Vermont marble, with panels of Sienna marble, and golden ceiling. From this lobby the E. door enters upon the Periodical Room, and the W. door upon the *Senate Reading Room. The chief features of this dignified room are the oaken dado, ornamented with inlaid arabesques. of white mahogany; the paneled gold ceiling, containing in each of its six square panels four female figures with garlands, modeled by William A. Mackay (b. 1878); a fireplace of Sienna marble, with a sculptured panel by Herbert Adams (who also did the carved panel of the oaken tympanum over entrance door); and on E. side a low gallery, suggesting an Italian loggia, with carved balustrade of Sienna marble.

Entrance Hall, East Corridor. Returning to the Entrance Hall we may next visit, in the E. corridor, the six murals by John W. Alexander (1856-1915), illustrating *THE EVOLUTION OF THE BOOK:

South End Wall (E. to W.): 1. The Cairn, showing men of the stone-age erecting a pyramid of huge stones, to commemorate some important event; 2. Oral Tradition, showing an Arab Story-teller relating to his kinsmen the Traditions of the Tribe; West Wall (S. cor.): 3. Hieroglyphics, showing an Egyptian stone-cutter carving an inscription on a new tomb; (N. cor.): 4. Picture Writing, depicting an American Indian tracing a record on an animal hide, while a young Indian girl lies on the ground watching him; North Wall (W. to E.): 5. The Manuscript Book, showing mediaeval Monks patiently inscribing and illuminating missals; 6. Printing, showing Gutenberg, the inventor of printing, in his office examining a proof-sheet, while beside him an apprentice is busily working a primitive press.

The visitor should note how admirably the artist has triumphed over the handicap of insufficient light in this corridor, by free employ. ment of white in his backgrounds and a generous use of yellows and browns in his figures and draperies.

The vaulting of this corridor has been devoted to a sort of Hall of Fame for great Americans in the various branches of the Arts and Sciences. The scheme of this Honor Roll

Is as follows: 1. In the ten pendentives at the ends and along the sides of the corridor ceiling are ten "Trophies" or mosaic panels, symbolizing the several Arts and Sciences; 2. Below each Trophy are the names of two Americans distinguished in that particular branch; 3. In the central vault of the ceiling are inscribed the three great professions, Medicine, Theology and Law; and 4. Flanking them are lists of America's famous professional men.

Trophies and Associated Names: South Pendentive: 1. Architecture (Ionic capital, hammer and chisel); below, Latrobe and Walter; West Pendentives (S. to N.): 2. Music (lyre, flute and musical score); below, Gottschalk and Mason; 3. Painting (palette, brushes and sketchbook); below, Stuart and Allston; 4, Sculpture (ancient torso and sculptor's tools); below, Powers and Crawford; 5. Poetry (a youth with lyre mounted on Pegasus; below, Emerson and Holmes; North Pendentive; 6. Natural Science (a microscope and sea-horse); below, Say and Dana; East Pendentives (N. to S.): 7. Mathematics (compass, square and abacus); below, Pierce and Bowditch; 8. Astronomy (celestial globe with Zodiac); below, Bond and Rittenhouse; 9. Engineering (quadrant, anchor, level, etc.): below, Francis and Stevens; 10. Natural Philosophy (scales and a crucible); below, Cooke and Silliman.

Along the central vault of the corridor are inscribed (S. to N.): 1. Medicine: Gross, Wood, McDowell, Rush, Warren; 2. Law: Curtis, Webster, Hamilton, Kent, Pinckney, Gibson, Story, Marshall, Taney, Shaw; 3. Theology: Beecher, Channing, Mather, Edwards, Brooks.

Separated from the East Corridor by an Arcade, is the broad passageway divided by a second Arcade into two trans

verse lobbies, forming the entrance to the Central Rotunda, or Main Reading Room. In the second lobby are a series of five murals representing *GOVERNMENT, by Elihu Vedder:

East Wall: 1. (over central doorway). Government, the personification of an ideal Republic, represented as a woman of grave and majestic mien, crowned with a wreath and holding in her left hand a sceptre, symbolic of the Golden Rule, and in her right a tablet with inscription quoted from Lincoln's Gettysburg Address, "A Government of the people, by the people, for the people." She is flanked by winged geniuses holding respectively the sword of Justice and the bridle of Moderation; 2. (on S.) Good Administration, seated female figure on a marble throne, the frame of which is an arch, symbolic of the even distribution of rights and duties in a Democracy. In her right hand are evenly balanced scales; her left rests upon a quartered shield, symbolic of the equality of classes and parties. On her left a youth, casting his vote, holds a book, emblem of intelligence. On her right a young girl winnows the chaff from the wheat; South End Wall: 3. Peace and Prosperity: Peace is crowned with an olive wreath, and is flanked on either side by youths typifying respectively, Agriculture and the Arts. the background is a fertile landscape, symbolic of prosperity; East Wall, N. of center: 4. Corrupt Legislation, personified as a seductive but depraved woman, enthroned between cornucopias overflowing with surplus revenue. With her right hand she scornfully dismisses thinly clad Labor; in her left hand she holds a sliding scale (symbol of injustice) on which a rich man is placing a bag of gold; North End Wall: 5. Anarchy, a nude female figure brandishing a wine cup and fire-brand, and madly trampling upon the ruins of civilization; on L. and R. she is aided by Violence, who is destroying a Greek Temple, and by Ignorance, who is thrusting the general wreckage into an abyss.

In

The main floor of the Rotunda is reserved for visitors wishing to use the library for reference purposes. Mere sight-seers, especially if in numbers, are properly excluded.

The library, however, is open free for reference to the public without any formalities, and it is well worth while, if time permits, to make use of its privileges at least once, if only as an excuse for spending an hour in this beautiful Reading Room, studying the methods of service, and getting certain architectural effects which cannot be properly appreciated from the visitors' gallery (p. 399).

Second Story Decorations. The murals, arabesques, and other decorations on the second floor include the Entrance Hall Arcade, the northwest and southwest Galleries and the four corner Pavilions.

The second floor is reached, either by the grand staircase from the Entrance Hall, or by elevator from Reading Room lobby. In the Arcade surrounding the four sides of the open central hall, are the most brilliant and lavish decorations, both in variety and range of color, contained in the library. The scheme was all worked out originally by Edward Pearce Casey, and elaborated mainly in respect to coloring by Elmer E. Garnsey. The color scheme, comprising blue in the pendentives, golden yellow in the penetrations, and grayish white in the main body of the vaulting, is said to have been adapted from the well-known Library in Sienna.

The decorations of the Arcades consist of: 1. Four series of paintings by specially commissioned artists; 2. Four series of Printers' Marks, arranged according to nationalities; 3. Hinton Perry's bas-reliefs; and 4. George W. Maynard's Pompeiian panels.

Entrance Hall, Second Story, West Corridor: The Sciences, by Walter Shirlaw, a series of eight frescoes, occupying the pendentives of the vault, in each of which a Science is symbolized by a female figure, heroic size, the symbolism being carried out not only in the attributes but in the color scheme: e.g., in Zoology, browns and yellows, the commonest colors among animals; and in chemistry, purple, blue and red, the colors most frequently met with in chemical experiments. These frescoes occupy the following order:

West Wall (N. to S.): 1. Geology, holding in left hand the Earth, and in her right a fossil shell; 2. Mathematics, almost nude (the Naked Truth), standing on a stone block inscribed with conic sections, and holding a shield bearing geometric devices; 3. Physics, bearing a torch, symbol of one of the greatest physical forces; 4. Zoology, clad in a wild animal's pelt, and with fingers intertwined in the mane of a crouching lion.

East Wall (S. to N.): 5. Chemistry, holding a retort; 6. Astronomy, holding in right hand a lens, and in left the planet Saturn with its rings; 7. Botany, standing on a lily-pad and examining a pond lily; 8. Archaeology, studying an ancient book, wears Roman garb and the helmet of Minerva; beside her is a Zuni vase; and around her neck a chameleon, symbolizing the changing views of the archaeologists.

On the end walls are inscribed the names of eight illus

trious representatives of the Sciences portrayed.

North End Wall: 1. La Grange, the mathematician; 2. Lavoisier, the chemist; 3. Rumford, the physicist; 4. Lyell, the geologist. Flanking these names are two quotations:

a. (on L.):

"All are but parts of one stupendous whole Whose body Nature is, and God the Soul." Pope.. b. (on R.): "In nature all is useful, all is beautiful." Emerson. South Wall: 5. Cuvier, the zoologist; 6. Linnaeus, the botanist; 7. Schliemann, the archaeologist; 8. Copernicus, the astronomer. accompanying quotations are:

The

c. (on L.) "The first creature of God was the light of sense, the last was the light of reason.' Bacon.

d. (on R.) "The light shineth in the darkness, and the darkness comprehendeth it not." St. John I, 5.

Through the middle of the vaulted ceiling are three medallions representing the Arts, executed by William B. Van Ingen (b. 1858):

(N. to S.) 1. Sculpture, completing a bust of Washington; 2. Architecture, drafting a ground plan; 3. Painting, holding palette and brush.

Above the five windows, on W., are the following quotations (N. to S.):