The Capitol building as it stands to-day, including the old central portion as originally conceived by Thornton, with the modern Dome and Northern and Southern extensions designed by Walter, is in the main an adaptation of the Corinthian order of architecture, and covers an area of 153,112 sq. ft., or 652 sq. ft. over 32 acres. The entire length is 751 ft. 4 in. The greatest dimension from E. to W. is 350 ft. The wings, including porticoes and steps, have a breadth (E. to W.) of 239 ft., or including porticoes and steps 324 ft. Between the original building and each extension is a connecting corridor 44 ft. long and 56 ft. deep.

Materials: The old central building is of Aquia Creek, Va. sandstone, painted white; the twenty-four monolithic columns of the eastern Central Portico are of Maryland sandstone; the N. and S. extensions and connecting corridors are of Dolomite marble, almost white, from Lee, Mass. (1851-65); the columns of the extension porticoes are monoliths of Dolomite marble from Cockeysville, Md.

The visitor, especially if approaching from the W., should note the fidelity with which the original details of construction have been duplicated, course by course, in the N. and S. extensions. Both the old central portions and the wings consist of a rustic basement, supporting an ordinance of Corinthian pilasters, which rise throughout the height of two stories. Upon these pilasters rest an entablature and frieze, surmounted by a balustrade. From the central portion rises with deceptive_lightness and grace the ponderous mass of Walter's iron Dome, probably the most universally familiar object in all American architecture. It springs from a peristyle of 36 fluted Corinthian columns, and rises to a height of 287 ft. 5 in. above the base line of the E. front. Its height from the roof balustrade is 217 ft. 11 in., and diameter at the base is 135 ft. 5 in. It is surmounted by a lantern 50 ft. in height which sustains the bronze statue of Freedom, modeled by Crawford, which measures 19 ft. 6 in. in height, and weighs 12,985 pounds.

The old wooden dome with its copper sheathing was taken down in 1856, and the present structure of cast-iron was completed in 1865. The total weight of iron used in the dome is 8,909,200 pounds. The total weight about the cellar floor including the sustaining walls, is computed at 57,292,253 lbs., giving a pressure of only 13,071 lbs. per sq. ft. That of St. Peter's, Rome, is 33,330 lbs. per sq. ft.; St. Paul's, London, 89,450 lbs.; and St. Genevieve, Paris, 60,000 lbs.

The Eastern, or Main Façade has three stately porticoes, supported on Corinthian columns, and surmounted by pediments containing allegorical groups. The Main Central, or

ROTUNDA PORTICO, is 160 ft. wide, with 24 columns sustaining an 80-ft. pediment, with sculptures representing the Genius of America, executed by Luigi Persico, after a design by John Quincy Adams (then Secretary of State).

The central figure, Armed America, rests her shield, bearing the letters U. S. A. upon an altar inscribed with the date, July 4, 1776. She is listening to Hope, at the same time pointing to Justice who holds the Constitution, inscribed with the date of its adoption, Sept. 17, 1787.

The porticoes of the Wings have 22 columns each. The PEDIMENT OF THE SENATE PORTICO, executed by Thomas Crawford, depicts American Development and the Decadence of the Indian Race. Here also America is the central figure, bestowing honor upon General Washington. On R. are the Elements of Strength on which this country relies: Soldier. Merchant, Schoolmaster, Youth and Mechanic, ending with Wheat Sheaf and Anchor, symbols of property and stability. On L. are the Forerunners of Civilization: Pioneer, Hunter, Indian Warrior and Indian Mother and Child mourning beside a grave. Crawford received $17,000 for his models. The figures were all chiseled on the Capitol Grounds by skilled Italian workmen, from Lee, Mass., marble, at a cost of $26,000.

The Bronze Doors of the Senate Portico are described on p. 75.

The HOUSE WING PEDIMENT. After remaining vacant for more than four score years, this pediment was at last filled in 1916 by a group executed by Paul W. Bartlett. In the centre is an allegorical presentment of "Peace Protecting Genius." Peace, a commanding female figure with breastplate and coat of mail almost hidden by her mantle, stands with left arm resting on buckler which is supported by the altar at her side. Her right arm is protectively extended over the winged figure of youthful Genius who holds the torch of Immortality. The composition is completed by two other groups respectively symbolizing the two fundamental powers of labor and sources of wealth: On E., Agriculture; on W., Industry.

"The most modest of our farmers and laborers can find in these groups the symbol of his own self and of his endeavors. He

will see that his helpmate, his children, his cattle, and the harvest from his fields have been exalted and carved in marble forms. printer, the ironworker, the founder can do the same. toiling factory girl will observe that she has not been forgotten, and those who are devoted to the sea can discover a group which will remind them of the joys of their vocation.

The

The

"A wave terminates the sculpture at either end of the pediment, and is meant to indicate that all this humanity, all its power and

energy, are comprised between the shores of the two oceans-the Atlantic and Pacific." From Speech by Paul W. Bartlett at Unveiling Exercises, Aug. 2, 1916.

The Bronze Doors of the House Portico are described on p. 88.

Since the Tour of the Capitol here given is planned to start from the Rotunda, the visitor should enter through the Main Central Portico. On R. and L. of Grand Central Stairway are two colossal marble groups. That on S. side represents The Discovery of America, by Luigi Persico, and consists of two figures, Columbus and an Indian girl, the former clad in armor modeled from a suit preserved in Genoa, and believed to have been worn by Columbus. The group on N. side is The Rescue, by Horatio Greenough, and depicts a deadly conflict between an Indian and a Pioneer. The Government paid $24,000 apiece for these groups.

In the center of the Portico are

*The Rogers Bronze Doors. These doors, completed in 1861, were modeled in Rome by Randolph Rogers, in 1858, the sculptor receiving $8000; and cast in Munich by F. von Müller, at a cost of $17,000. After some controversy regarding their location, they were first erected in the passageway connecting the Old Hall of Representatives (Statuary Hall) with the House Wing. They proved, however, a serious obstruction in a corridor which at best was none too wide; and in 1870 the House voted to have them transferred to their present position. The two leaves are each 17 ft. high and 41⁄2 ft. wide, and are surmounted by a semi-circular transom panel. The whole is enclosed by a richly ornamented casing, semi-circular at the top, and projecting about a foot in front of the leaves. The key of the casing arch bears a bust of Columbus.

At top and bottom of the two sides of casing are four statuettes representing: (S. upper cor.) Asia, with oriental head-gear; (N. upper cor.) Africa, with necklace of claws and teeth; (S. lower cor.) Europe, with diadem; (N. lower cor.) America, with liberty cap and shield.

There are nine panels, four on each leaf of the door, and one in the transom. Between these panels are ten heads, five on each leaf, "representing historians who have written on his (Columbus') voyages, from his own time down to the present day, ending with Irving and Prescott." The correspondence between Rogers and Thomas U. Walter, then architect of the Capitol, sheds no further light regarding these heads; but two are evidently women, and two others are Indians.

On R. and L. of the eight door-panels are 16 statuettes in niches, representing contemporaries of Columbus, who figured prominently in his life. The names are inscribed beneath them:

A. (L. Margin of S. Door, from bottom upward): 1. (facing 1st Historic Panel) Juan Perez, Prior of the Convent of La Rabida,